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Layered Meanings
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by Lauren Hall
March 31 — April 6, 2005 |
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Drawing from dance, sculpture and mythology, Christian Bernard
Singer redefines space in his two-part installation Tessellated
Anamnesis at the Canadian Clay and Glass Gallery. Employing
materials such as unfired clay, living moss, rocks and glass, a
space is created that offers viewers opportunities for reflection
and interpretation.
In the main gallery, moss and clay are neatly arranged on the
gallery floor according to the pattern of movement of an 18th
century Baroque dance, in the piece “Chaconne de Paeton.” The
dance is inspired by the myth of Phaeton, whose father Apollo
promised his son anything he wanted. He requested to drive
Apollo’s chariot, which travels around the earth pulling the sun. In
doing so, he let the chariot get out of control, and scorched the
Earth, leaving vast areas of desert. In order to stop the
destruction, Zeus struck Phaeton dead with a thunderbolt.
The performed dance interpretation is projected high on the
gallery wall, and demands great control and precision to perform,
which contrasts with the turmoil of the story it’s based on, and
serves as a warning for our continued abuse of the environment.
The artist’s interpretation of all of these historical layers is
one of both order and chaos. At present, the moss is carefully
squared off in a path that takes only right angles. Because the
moss is living, it could potentially grow and shift, changing in
time. Strips of unfired clay lay on top of the moss, representing
dance steps. The clay will change as well, drying out over the
course of the installation.
The path the installation takes invites the viewer to walk
around it, allowing the viewer to experience the movement of the
dance they are watching overhead.
In another site–specific work, “Enclosure III,” Singer creates
an environment of real moss, and glass that has been made to
look like moss made from fragmented body casts. This controlled
environment is more intimate than “Chaconne de Paeton,” and it
offers time for reflection in its quiet space. The body parts are at
first indistinguishable from the moss, stating how closely humans
are tied to the environment, and the glass reminds us of our own
fragility.
Understanding the conceptual ideas behind the work is likely
essential to completely appreciate both pieces, which are
somewhat difficult to approach at first. Singer’s main themes of
mortality and environmental protection come through strongly by
reading the information provided by gallery. His work is,
nevertheless, highly engaging in that it is somewhat indescribable
at first. One is left to interpret the works slowly, and experience
them on a personal level.
Tessellated Anamnesis
by Christian Bernard Singer
Tues-Sat, 10-5, Sun 1-5
Until May 18
Canadian Clay and Glass Gallery
www.canadianclayandglass.ca
746–1882
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