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There was a three month
gap in the time between O-AR 1 and O-AR 2, also
the sequel to the exhibition in the small gallery
took place in the upper, two, long parallel galleries
(separated by a brick dividing wall with a large
opening mid-way along to an entrance foyer so
the spectator had the opportunity to view the
full length of both at the same time. The left-hand
gallery had a sheet of clear plastic (semi-opaque)
suspended (almost floor to ceiling) the full length
of the gallery. The right-hand gallery was similarly
hung, except the hanging, which was black agricultural
plastic.
Those attending the
exhibition had the opportunity to fulfil one or
both of two roles; one as viewer, walking the
length of both plastic hangings (in each case
the draft of their progress was marked by a body-shaped
ripple of plastic), second as spectator, where
they observed the viewer as animator to the installation.
Making use of these large spaces was a challenge.
One could either put something in them or subordinate
the space to an idea. In the event, the gallery
length hanging plastic took charge as the dominant
(a component of the architecture) element.
O-AR 2 has been described
as the most open-ended of my installation work.
It was not allied to any social/cultural issues
(Arena) or analytical process (O-AR 1); it came
across as self fulfilling in it's own domain.
It did do something else of course as it could
not escape from the issue of being presented as
the second part of single work. The arguments
of the day were inconclusive (cat.) centred on
the complexity of one and the simplicity of the
other. The positive side was it did highlight
the differences in both. We had previously discussed
the membrane of meaning existing in the realm
of the unstated (O-AR 1). In O-AR 2 reference
was made to the fact that it created a maze of
four passageways (with comparisons to the Morris/Nauman
type maze or corridor) separated by the membranes
of plastic; the effect was enhanced by the aspect
of the physical human element stalking the passageways.
Perhaps more significantly it heralded the notion
of naming and linking sites remote in distance
and time within a conceptual frame of reference.
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