Convergated 4(Starchitecture)
Punctured inkjet print, H30cm x L30cm, 2006,
Convergated 2(Starchitecture)
Puntured C-print, H45cm x L51cm, 2006
Convergated 1(Starchitecture)
Punctured C-print, H45cm x L58cm, 2006
Convergated 5(Starchitecture)
Puntured inkjet print, H30cm x L38cm, 2006
Mirrorschach 2
Laser cut mirror plexi, H52cm xL62cm, 2006, Mirrorschach
Eye Wish
Oil (painted) and wax medium (screen printed) on plywood panel, H60cm x L60cm, 2006
Eye Wish 1
Oil on plywood panel, H60cm x L60cm, 2006
Eye Wish 5
Oil (painted) and wax medium (screen printed) on plywood panel, H60cm x L60cm, 2006
The title Convergation is formed from the words Convergence and Congregation. Both words mean coming together, the former in a phenomenological sense, the latter in a social sense.
For this exhibition, I wanted to look at issues of convergence in the context of the site of the Trygve Lie Gallery, located in the lower level of the Norwegian Church in New York.
The work in the exhibition combines to pairs of elements: Convergence and symmetry as basic structures of perception; church architecture and the Rorschach ink-blots as iconic cultural sources of the interpretation of such structures. These elements are explored in three series shown in the exhibition: “Mirrorschach”, “Eye Wish” and “Starchitecture”.
The Mirrorschach and “Eye Wish” series are based on the original inkblots that Psychiatrist Hermann Rorschach first published in 1921. The mirrors are identical renderings of the outlines of the first 5 ink-blots, #1 and #5 are distorted as if they are seen at an angle. The paintings double the Rorschach figures by mirroring them yet again, vertically. The outlines are contours for imaginary cloud-formations whose artificiality are enhanced by strong tints.
The “Starchitecture” series consists of photographs of church interiors sliced and collaged digitally into kaleidoscopic formations. One of the photographs were from the church space above the gallery. Out of these prints are cut holes corresponding to a star map of the sky over the gallery (over Manhattan) at the time of the show. The pieces are hung in front of the wall to reveal the space behind the prints illuminated by the light coming through the holes.
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The Sites category includes projects which have made use of the specific location or situation where the work was shown, as subject matter or frame of reference. Rather than a classic Site Specificity, this is an associative and often metaphorical approach to site as content.