|
Straddling
the border between minimalism and theatricality, the "Crimson House"
presents the viewer with a sense of perceptual slippage between an expectation
of the familiar, and something more enigmatic.
Suggesting a dwelling, shelter, temple, pleasure pavilion, this decidedly
un-natural structure conveys both mimesis and metaphor in its physical
presence. It can be perceived, but not touched or entered, intimating
a more contemplative purpose. In the paradoxical citation of the phenomenological
and the epistemological, physical presence and a spiritual intangibility
conspire in the production of perceptions at the edge of experience.
Qualities of changing light and atmospheric conditions produce shifts
from translucency to opacity making even visual recognition subject to
perceptual indeterminance; interpretation deferentially suspended by sensation.
Joseph Karoly |