Installations
The intuitive traditions expressed in world religions and philosophies understood the origins and relationships of nature and humans metaphorically, using traditional stories as a means to teach principles. My works deal with the elemental to address how we come to know what we believe to be true. They overlay one—the infinite—and another over time. Circling the void, all the fields of learning/knowledge form the perimeter of a circle/sphere looking into the center. There are no absolute means to define that emptiness/wholeness: each series come up with a unique language and path to touch that unknown.
Spiral Passage (1995)
Installation with holographic windows projecting solar spectra and 50 ft. diameter spiral mirror maze on the floor.
This installation marks the passage of time by creating a sundial within the museum gallery. Holographic panels cover the windows and project the sun’s diurnal and annual movement as spectra onto the thirty foot walls. A double spiral mirror maze creates a mirage across the floor. Visible from some angles but not other, the maze implies the axis and surrounding sweep of light.
Signature of the Source (1997)
Holographic glass panels, 8’ diameter.
Culminating the Origin Series, this installation brings line and circle together. Exotic astronomical features emit jets of particles across the universe. Tracing back along their trajectory locates the source. Light, time and space fuse masking the origin.
Chasm to Consequence (2008)
Installation with Chasm (2001) film on glass 14” x 24”. The List, 110” x 40” scroll hangs behind with projected phrases. Pedestal with 6” glass lens magnifying matchbox from Windows on thee World, the restaurant at the top of the North Tower, World Trade Center.
In left corner: The List, hanging scroll of terms coined by the George W. Bush Administration between 2001-2008. Each phrase is projected across the scroll, chronological from the bottom to the top.
Speed of Shadows (2012)
Holographic emulsion on glass panel 24”x 12”, mirror shelf and suspended black sphere, 8”x 10”x 10”.
Since a shadow has neither mass nor energy, it is not constrained by the laws of physics. In this installation a spherical shadow floats in a cube of blue light in front of the glass panel while a solid black sphere reflects darkly in a mirror below.
Realms (2013)
Holographic film on acrylic, 24”x 24”, LED illuminators.
The viewer looks down through translucent natural forms to the generating particle fields of light deep below. The natural forms in the panels suggest the properties of form, flow, connection and mass and hover above the surface. The radial grid from an astrolabe bisects the forms and floats far above the receding light fields.
Elemental (2016)
Installation with multiple works by Sally Weber, January 23 - March 3, 2016, Women and Their Work, Austin, Texas
We are interconnected, elementally. It started from a singularity, a mathematical term for infinity in a point. Anti-matter and matter exploded as light and the remnant of matter that survived expanded into all we know. We hinge our existence between space and time and show the traits of the tiniest particles that combine and vibrate within us.
In this exhibition the elements carbon, gold, and iron are integrated with works of light. Early alchemists believed metals matured in the ground, transforming over time from base metals to the royal metals, silver and gold. Their intent was to carefully transmute metals from one stage to another speeding up the process. Iron, the most abundant metal in the universe, is the actual transformative metal. Its fusion in the core of a star triggers a supernova and the subsequent creation of all the heavier metals including silver, gold, uranium and plutonium and is fundamental to the earth and all life.
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