It exists beyond its makers mind
Following the installation as its image appears though other hands.
The bigness of this work was something I had to cope with as both the creator and viewer. Since I had never been in the venue I spent my time, 1 and a half months that was between securing the venue and finally arriving at the site for a 10 day install, sketching the blueprint of the front window with its possible hanging points, imagining both being in the stairs and walking around the outside of the stairwell, all the while making sections that would be the work and working to make a buck to exist (in Buffalo NY). Of course, I was the one to push the work to encompass the whole of the 7 levels and thus make the work gigantic.
Now I see how the size of the work has become an animal in the direction of this and most other art related events that aim to enlarge the art audience among other things. Though, it is through the work taking part in this saga that allows it to comment on the epidemic. Sure it is huge but it is insubstantial and light, sure it is monstrous but it was handmade by the artist, sure it is dwarfing the viewer at the ground but you can go to the top of it to peer at its intimate details and sure it is made of lots of smaller things but I didn’t buy the materials I only used what was free (besides the glue sticks).
The size is a function in the work itself. It allowed the work to act as a 2-demnsional gestural drawing from a far, 7 levels of sculptural environment from within and most importantly the overwhelming of the senses to produce an open link to the sublime. With a quick gust of wind the work moves and makes noise that belongs solely to the material used, the process of using the material and the site it is in. Parts of the interior levels are conceptually driven, some are minimal, some draw from natural forms and others draw themselves.
From the outside in the early dawn the white of the paper is clean and cool, as the day progresses towards high noon the sun’s rays blind the viewer erasing whole sections of the work but enliven the sheen surface of the paper and the view from within, later when that ball of flames in the sky starts its descent the rays warms the colors of the pigment left on the paper from its manufacturing origin and casts shadows on the interior while highlighting the form and surface for the view from the outside, then in the death of day with the florescent lights of the stairwell backlighting the work it’s outer image fades becoming noticeable only when the air or the human hand moves the free hanging paper allowing whatever light should happen to reach it from the outside to make the surface glint.
Because the ArtPrize website only offers a limited amount of space to add a written end to the work shown I am redirecting interested traffic to this blog in the hope of creating an open dialogue and space to expound in the project. Katharine Renee Gaudy Installation, 2012. Paper scraps, around 7 ½ stories X 23’ 9’ X 1’5”