"Through the fellowship of the George Mora Foundation and in conjunction with the State Library of Victoria, Ross undertook a multi-camera video and still photographic performance that involved the release of 10,000 paper planes into the Domed Reading Room of the State Library of Victoria. On the 14th of March 2011, 165 people launched 10,000 paper planes in a choreographed event that was recorded by 9 video cameras.
The Domed Reading Room is a place of reflective contemplation. It is also a space for action in the form of reading, writing and thinking. His experience as a patron and former library staff member had caused him to reflect on the space and the thoughts that might occupy the reading room. This thinking coalesced into the idea for the project. The flight paths of the paper planes into the Domed Reading Room could be seen as the movement of information through space and time. The video was a visual represent thought patterns that may have occurred in the Domed Reading Room. The space of the Domed Reading Room itself echoes the shape of a cranium.
This project is concerned with using the physical presence of the collection and the space of the State Library itself. The fellowship and subsequent video artworks and photographs explore the interplay between the architectural structure and the space that it inhabits. The artwork sought brings a visual articulation to the notion that a rebellious act can also be one of beauty and poetry.”
"The images deviate from the conventional standards of architectural photography, making no attempt to portray representative features. They show an eye for detail, often as abstract compositions in which lines organize the surface structure and textures fill the spaces between them. The palace is segmented by Ishimoto into flat patterns that consist solely of grey tonal values. However, the subject of the photo always remains recognizable. Ishimoto fully exploits the available techniques of black-and-white photography with its dense black tones. His approach seems appropriate to the subject, yet also distant." [Bauhaus Online]
Romain Crelier - La Mise en Abîme, 2013, used oil, metal, at the Abbey-church of Bellelay, Switzerland
"Entitled La Mise en Abîme, the mesmerising installation comprises two large, extremely precise and impeccably finished receptacles in which vast quantities of used oil are contained. Shaped like giant puddles, the sculptures with their shiny, and lacquer surfaces (thanks to the expressive properties of oil) reflect the surrounding, allowing the viewers to interact with the architecture of the church by being pulled into the reflection so that they, in turn, become part of the sculpture itself. The installation not only dispenses multiple visual thrills and mysteries but also offers a moment where sculpture creates another reading of space.
Working in a scale simultaneously monumental and intimate, these sculptures continue Crelier‘s career-long exploration of the space through conceptual engagement with buildings as well as his experimentation with light and dark, form and void, inside and outside, surface and depth, abstraction and figuration, reflection and absorption.” [We Find Wildness]
The usual aim of the fable is to teach a lesson by drawing attention to animal behaviour and its relationship to human actions and shortcomings. Animals in fables speak metaphorically of human folly, criticizing human nature. Yet it seems that the nature of Karen Knorr’s work has another aim. In Knorr’s “Fables” the animals are not dressed up to resemble humans nor do they illustrate any explicit moral. Liberated, they roam freely in human territory drawing attenton to the unbridged gap between nature and culture. They encroach into the domain of the museum and other cultural sanctuaries which resolutely forbids their entry.