In Sequence, 2006, for instance, a huge involuted
and double-skinned figure eight, the viewer is doubly perplexed--first physically overwhelmed, almost to the point of losing her balance or experiencing nausea through the torque of curving walls, and, second, spatially confused about where in the galleries she will exit from her serpentine ambulation.
In the library at Stykkisholmur, the local landscape and weather are involuted
into the work.
The whole elaborate, involuted
referential schema recalled nothing so much as the overdetermined causal chart of art movements that MOMA founder Alfred H.
Here, things are involuted
, so the town, which features an abandoned park complete with benches and a barren tree, is inside the train.
The exhibition is an inventory of brooding melancholics from the history of Western representation, beginning with the antique: artists, saints, and ill-fated lovers as well as allegorical personifications of Melancholy itself, at the center of which sits Durer's great Melencolia I of 1514, forever fixed in place as the involuted
grande dame of imagination in anguish.
The cryptophilosophical commentary scribbled into these pictures hints that Arce devised "Disolver/Coleccionar" as an involuted
method for digesting all the art which would otherwise motivate him to quit painting.
The result, often enough, is a kind of lyrical yet involuted
The pivot between this public collective body of the French Revolution and the involuted
, remapped "private" body of Cubism is - remarkably - the fear of castration as embodied in Cezanne's late Bathers, whose weird distortions Clark sees as a parallel process to the psychic reworkings of experience theorized by Freudian psychoanalysis.
Cruising Disaster (all works 1996), for instance, spreads horizontally across 18 feet of wall space and consists of 111 similar vertical modules, held to the wall by steel clamps, of involuted
and stitched black and red leather that has been imbued with white chalk dust.
His scientific investigations and technical innovations (his renowned fussiness with the camera, as though to show it in action were his only concern) come to a dead end in an involuted
and convoluted reflection of and on the self, the morbid turn inward, the chewing on the cud of the unconscious that invariably follows defeat.
Where she exploited its molten possibilities to achieve an effect of random expression and involuted
pathos, Duff finds delicate transcendence in its icy luminosity, often giving it colored tones that make the fiberglass seem as soft as the tones appear, however inflexible it actually is.