As you notice a spectacular slice of radiant light from the noisy and dimly lit gallery hall, you enter through a typical doorway into a bright, blank room. Along a three dimensional lateral rift in the middle of the existing space, physical dimension and interior limits stream out, skew, and converge on the window, our threshold and aperture to the world outside. Approaching the warm light, as it pulses with a slow and familiar rhythm, you are absorbed by a deadening silence and the clatter from the crowd adjacent is gone. As you get closer, soft sounds gradually supersede the silence, with what feels like the bustle of traffic beyond answered by a sort of sympathetic echo vibrating through the walls around you. The effect is hypnotic. Bathing in the natural glow pouring in at you, and peering out at large vapors passing in the distance, the mind and body become suddenly trained on the whole sensation of moving. With the tuned sights of passing light and the sounds of turbulent airs, you are aware of your exciting and ever-shifting point of reference; your worldly reference.
‘It is not only the eye which sees’, according to the philosopher Maurice Merleau-Ponty, but ‘the body as a receptive totality’.
This installation, erected in a small room at the Gladstone Hotel in Toronto over a period of three days, was an experimental work done in an attempt to provoke a palpable sense of movement by simply changing the shape of the existing room. It focuses on the incredible and enduring forces of our everyday existence (our daily 1674kph whirl around the circumference of the earth, or our yearly 107826kph excursion around the sun). Despite the immense scale of this constant state of global mobility, the effects are made mysterious by our perceptual limits and perhaps even more so by a worsening desensitization to our natural environment as we grow older. Still deeply seated in all of us, however, there is something profound that resonates with the percept and affect of motion. We are compelled to feel mobile. If we cannot be mobile, our ingenuity is spurred, and we are implored to discover a means by which we may become so. When there is no motion to be found in the immediate sense, we may revel in the implicit motion present where static form meets field, in tension, and where the mind and our imagination can take over.
This project aims to challenge the effect of this sort of implied motion on the psyche and senses, through a purely formal intervention; the original components of the room remain unchanged while only the form and proportions of the space are redefined. Breaking from the orthogonal stasis of the existing room, the altered interior space creates disequilibrium and encourages a unique re-familiarization with one’s surroundings. Patrons re-acclimate and become more cognizant of the forces and characteristics of their worldly environment.