4 July to 15 August 2015.
A moiré effect can be understood as "a kind of graphic unconscious: a basic condition of blur, out of which temporary effects of sharpness are occasionally won."¹ Temporary, because as a primarily optical phenomenon, the effect is dependent on two superimposed patterns or screens becoming askew. What becomes apparent through this slight shifting of two-dimensional planes is a previously indiscernible three-dimensional space. Taking the effect as cue through the convergent practices of Liz Deschenes, Eileen Quinlan, Erin Shirreff, and Erika Vogt — this exhibition considers how a relationship between the material and immaterial becomes permissible through the accumulated crossing of singular paths.Work from Liz Deschenes' Moiré series offer a conceptual and formal point of departure. After photographing perforated sheets of paper attached to a window, the artist overlays and misaligns two duplicate negatives to create an image that exceeds our eye's ability to hold fast to a singular plane. As we attempt to negotiate the pulsing fluctuations of figure and ground, it is the strong phenomenological component of the work that becomes most apparent. Eileen Quinlan's compositions are similarly lens-based. Through corrosive and abrasive techniques her photographic work is marked by an accumulation of events, serving as an archive of temporality. In her photographic works Bonanza and Acting Out this relationality becomes evident through the repeated use of recognizable material, in this case, crocheted fabric. In Pages, a series of collages by Erin Shirreff, perceptual shifts are made apparent through the juxtaposition of sculptural forms photographically represented from varying perspectives. This results in an ambiguous sensation of space and a simultaneous flattening of the object. The shapes present in her sculpture Catalogue, 8 parts invert this relationship, as the contours of each component are translated from a set of line drawings. Also considering the relationship between two and three dimensions, Erika Vogt's video work Darker Imposter centers on a subtle yet complex dialogue between physically present objects and a virtual space of representation. A selection of Vogt's intimate sculptures, such as Engraved Plane (metal guide), offer the possibility of transcending planar constraints through physical movement.
1 “...words put the matter in a new light: the moiré effect was ultimately a kind of graphic unconscious: a basic condition of blur out of which temporary effects of sharpness were occasionally won.” Lytle Shaw, The Moiré Effect
image: Eileen Quinlan, Acting Out, 2014, courtesy Miguel Abreu Gallery, New York