A visitor is astounded when viewing art ‘through the lens.’
Q: With the setting of the Museum being an element in this site specific show, I’m wondering about any unique challenges you might have putting this show in here? (the fact that building is repurposed from a grist mill?
A: The eccentric and historic architecture is one of the most exciting aspects of the show for us. It’s a unique challenge as a curator, and particularly as an artist, to respond to a space with all this history and quirkiness. The building and the residue of its past can activate the art in a completely different way than a white cube space. It’s the element of the unexpected that provides possibilities for new interpretations of the work for me, the artist and the visitor. Gianluca and Lorrie’s process – the workmanlike way they building things, the media they use, intimacy with their materials – parallels the relationship mill workers might have had with their products and raw materials. The show has a holistic quality that is really genuine to us. If you think about it, mills were part of the whole industrial revolution and were cutting edge technology back in the day. Gianluca and Lorrie’s interest in science and technology reflects the contemporary impulse in that direction.
Q: What do you hope viewers will get out of the exhibition after seeing it?
A: Overtly, this show is about how neither Gianluca, nor Lorrie’s work would be possible without developments in the lens. Gianluca often relies on source imagery of galaxies, black holes and other celestial bodies for inspiration. These images are the result of sophisticated telescopes and cameras. Lorrie very often uses images from microscopes as starting point for her work. Situated between these infinite and infinitesimal worlds, we’re hoping the viewer might posit their position in the world they inhabit. It’s much larger and yet, much smaller than we think. Overall, I would like viewers to immerse themselves in this environment and just experience it. I’m not sure I want to dictate a specific experience or idea beyond that. I’m more interested in engagement, and opening possibilities for discussion or thought. One of the best things for a curator is when viewers have their own insights that are valid and often times, brilliant — and not something I necessarily had thought of when working on the show. Once the exhibition is installed, you lose control over its interpretation. It’s out there, and people will think what they’re going to think. I really like that once a show is in the gallery, it no longer really belongs to the artist or curator.
Q: Is there a piece or two in the exhibition that we could highlight in the article that come to mind? What could we tell viewers about it/them?
A: The show is comprised primarily of two large installations that consist of a fair amount of interplay between the artists, the art and the space. Gianluca and Lorrie have been working on new components to expand their repertoires. Lorrie has been making a series of new shapes and sizes of wax “orbs” that will wind around and reside in the various architectural idiosyncrasies in the gallery. Her work is directly tied to the space in that it will also draw viewers’ attention to it as well. Gianluca has made ten new “portals” which contain viewing lenses through which the visitors are transported to another layer of regressive space. There’s this pervading idea of movement and exploration weaving in and out of this exhibition, both physically as well as metaphorically.