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Each piece is in a sense a fragment thus transformed into a whole, very much in the way a film is pieced together from different sequences, their sum total achieving unity in a viewer's comprehension. Each artist enjoys absolute freedom in shaping his piece and/or its context, the space and light in which it is placed. I propose three models of cooperation between myself and the artists. In the first, each artist provides mewith a work (or I select one from his oeuvre) but I then supply its (space and light) context. In the second, I provide the context into which each artist installs a piece of his choosing. In the third (and my favourite), the artist receives only the door-viewer from me, supplying piece and context himself. Common to all is the ritual of the presentation, from myself to each artist, of the door-viewer; a gesture thus symbolic of our common artistic venture. I view the GP as a sort of distorting self-portrait (reminiscent of Parmigianino's "Self-Portrait in a Convex Mirror", painted in 1524), through which the artist and his mirror-double viewer spy upon one another in a confined and private space bent around an obsessional subject. Significantly, the intermediary lens is here concave, staging a more receptively ambient (more seashell auditive than bullseye visual) and less invasively direct kind of reflexive intro-spection. |
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(Merci Stephen Stern for the great penne arrabiata-inspiratione and the translation) |
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