As transparent as you like, part II (Leonor Antunes)
Continued from previous post...
Antunes intended the installation to be explored from multiple angles. Seeing through the glass gallery walls, the cork floor’s triangular pattern is like a grid. The geometry in the pattern is a repeating element with nuanced formal variations to support the hanging pieces. With repetition and variation, I stand before you like a mirror is not a group of randomly arranged objects, but a methodic composition. When experiencing the installation, one is constantly aware of its carefully choreographed patterns. Co-existing with the structured forms, the negative spaces around and in between allow for organic paths that are not ridged and confined. In this instance, both the positive and the negative spaces punctuate an ambiguous beginning and an indefinite ending. During the breaks and the pauses, formal variations emerge to subtlety enhance the visitor’s experience.
Working with more malleable materials such as leather, cotton rope and nylon yard, then adding in harder materials such as brass and Plexiglas, the installation elegantly presents strength and fragility. The arrangement of the geometric pattern on the floor is a harmonious complement to the hanging pieces and the Plexiglas standing pieces. While the shiny and transparent surface of the Plexiglas pieces act both as space dividers and reflective surfaces as if a mirror, the hanging pieces softly breaks up the straight lines. The result of this juxtaposition is one that feels like walking into a scene from A Witch’s Cradle, another one of Deren’s films that starred Marcel Duchamp.
Just as the glass and the transparency of the museum’s architecture metaphorically and physically blur the boundary between inside and outside, Antunes’ installation creates an experience that transforms the gallery space. Arrangements of the objects in repetition and in variation punctuate the experience by intrusion and obstruction. Yet, one’s view is never completely obstructed since all the pieces are either transparent or weaved in such a way that allow for the penetration of light. Rather like a designer and an experimental filmmaker, the negative spaces in between objects and actions are points of transition. When going through the installation, one would find him or herself behaving as if the chess pieces in yet another one of Deren’s works- At Land, because even though they appear to move on their own but they are also guided by an invisible influence.