Space is something that is everywhere. In-between your fingers, under
your table, that separation between you and your next-door neighbours by form
of a fence. Nevertheless there are many forms of space, despite the obvious;
physical space, space within space, the illusion of space, positive &
negative space, metaphorical space, literal space, and the emotion space
creates, the list is endless. Yet, the question that occurs to so many people
in everyday life, what is space? Or direct to this essay that I precede with,
what is an installation? This too comes with an endless list of different
forms, which I choose not to tire you with. To me an installation come’s in a
number of arrangements, which I intend to explore throughout.
One of the ways in which physical space can be used as an instillation
is through the illusion of space that can be created. An example of how the
illusion of space can be created is through the use of mirrors. Mirrors are
used as everyday objects in houses, cars and are usually used as a form of
reflection on oneself. However, in this case I am talking about mirrors as an
illusion. I have come across a number of artists who use mirrors creating the
illusion of more space.
One of which, is the incredible
Yayoi Kusama, who over the years has explored the use of mirrors and how they
create the illusion of space. Kusama’s
focus for seemingly endless space has been a large focus in her epic body of
work over the previous decades.
Infinity
mirror room is an exhibition which uses hundreds of LED lights,
reflecting off mirrors creating an illusion of space that goes on for infinity.
The room creates the illusion of an ambitious scale of space, bouncing off
countless mirrors resulting in repeated images. Nevertheless it is a space that
doesn’t leave you with that sense of emptiness and loneliness, which you would
expect from such a large ‘space.’ The illusion only makes that space feel
fuller, due to the hundreds of LED lights, cleverly filling up the room, and
creating limitless space.
However, it is not only mirrors that Kusama uses to create more space,
but water too. Her 2002 exhibition of Fireflies
on the water, combines lights, mirrors and water, (above) an
example of another one of her magnificent instillations creating space in which
viewers can enter and explore. The room which in fact looks endless can only be
viewed by one person at a time, with a maximum time limit of one minute, with
the door shut behind you. One unexpected emotion that the room creates can be
claustrophobia, yet at the same time unlimited space by sight. The room almost forces you to look at
yourself, seeing only your reflection staring back at you, going on for
infinity. In a sense, the room leaves you with a time of contemplation; an
interesting choice of deliberate decision by the artist, suggesting that behind
the installation is a deeper meaning. The use of taking such a small initial space
and transforming it into something which appears to go on for infinity is an
example of true art.
However the illusion of space can be created in other ways, through resources
such as water and oil.
One artist, who is a perfect example of using both of these substances, is
Richard Wilson, whose permanent instillation at the renowned Saatchi gallery
has caused quite an interest since the work opened. 20:50 is a Tardis-like permanent
exhibition, focusing on the architectural space of how the internal aspects of
the room have no boundaries when it comes to the physical space of the installation.
He uses mirrors and unexpected architecture to create the illusion of a bigger
and endless space. Wilson first became interested in the horizontal surface of
pools, and then was intrigued in oil due to its reflective surface. The gallery
is filled to waist height with recycled engine oil, hence the name of the installation.
All aspects viewed of the gallery appears as a holographic field; the polished floor, endless clear pool, as well
as the infinite space that is created by the use of mirrors, reflecting the
magnificent architecture.
The illusion of space is something mesmerising like in
Kusama’s Infinity mirror room, nevertheless
incomprehensible in your mind-like Richard Wilsons 20:50. Yet it is this
enigmatic confusion that intrigues people about this illusion, making them
almost seem magical; something which is definitely true with Kusama’s mirrored
instillations, especially through the eyes of a child, in a magical wonderland
of lights and illusions.
Space within space is another aspect
that interests me. The quite usually missed space that is created in-between
objects. A fallen tree, the space around this tree is quite often the centre of
attention, what did it affect what are the effects? Yet the space in-between is
often missed, the hidden space.
One artist I discovered who captures
this ‘hidden space’ through photography is Mathew Merrett. The physical space that
he chooses capture is not only the significant space, but the emotions and
impact they leave you with, all through his photographs alone. He focuses
mainly on urban decay, subject to the elements and neglect, capturing what once
was, bringing together the past and present of his chosen locations.
One of my favourite projects of his is his photographs from
the Chernobyl disaster, where there was a nuclear explosion, still being a
dangerous location to visit. Both Merrett and fellow photographer Olena Sullivan
visited the now abandoned site, with sites of only devastation and what once
was.
He shows these sites of destruction and abandoned
class-rooms, fair grounds, and hospitals both their past and present, using
their uninhibited spaces and objects. Merrett uses a combination of
perspective, distance and light, which are portrayed through his photographs. In
a lot of his photographs he uses a distinct and definite disappearing point, and
strict symmetry, giving them a sense of direction and proportion, only
directing the sense of space. He shows this ‘hidden space’ naturally, in fact,
without even trying, just showing it as he expresses and brings together the
past and present, with the central abandoned objects in a mammoth sense of
space.
Yet hidden space is just as it sounds, hidden, and found
everywhere when looked for; in-between, under and even over. However, it is not
an obvious example of physical space, but nevertheless, a form of space.
Other than types of space, there are different ways that
physical space can be used; whether it is a large space with very little in it,
or a small space filled to the brim. Similarly again to both Mathew Merrett and
‘hidden space,’ positive and negative space is a feature that links in with
physical space and the installations they are placed in.
Rachel Whiteread explores this theme
of positive and negative space, as well as linking it into ‘hidden space,’ and
exploring the different ways physical space can be used. The British sculptor
explores using traditional casting methods which are normally used in the
preparation of sculptures rather than the finished object, such as plaster,
rubber and resin. She makes sculptures of the spaces in, under and on everyday
objects. Her art operates on many levels, capturing unexpected areas such as
unfamiliar spaces; a sink, bath, mattress or chair, fossilising everyday
objects in the absence of human usage. It is her choice of subject matter which
creates the enigmatic use of space, resulting in positive and negative areas.
In particular her award winning 1993 sculpture, House, a life-sized replica of the interior of a condemned
terraced house in London's East End. Created by spraying liquid concrete into
the building's empty shell, before its external walls were removed, and finally
destroyed in 1994 just a year later. This use of space is a completely reverse
way to look at the positive and negative, singling out each other, in such an
obvious way.
Going back to Richard Wilson, who not only creates
architectural installations inside, but on and in buildings too. As one of
Britain’s most renowned sculptors, Wilson created an ambitious five story high
work at the London school of Economics and Political Science. Square the Block, has been installed on
the northwest exterior of the LSE’s new academic building, becoming a
spectacular outdoor sculpture that both mimics and subtly subverts the existing
building. The work continues Wilson’s approach to sculpture, referencing the
existing architectural context in a similar way to his acclaimed piece for the
Liverpool Biennale, Turning the Place
Over a temporary installation lasting only for a year. Wilson is known for
his architectural works drawn heavily from inspiration of engineering and
construction. An 8m diameter egg-shape cut from the front of the building, a
new form of structure, bring sculptures and Art together.
Institutional spaces have always been something which
intrigue me. The extreme space of a room, brought back down with perspective,
symmetry and lighting; shown in both painting and photography, expressed by
Mathew Merrett, but more directly to my next paragraph I direct this to, Olafur
Eliasson. Exploring structure and ‘happenings,’ Eliasson looks at institutional
aspects of a room, such as his piece; your
strange certainty still kept. This installation consists of an empty, dark and silent room, where drops of falling water are lit by
the rhythmic flashing of strobe lights, creating the effect that gravity has
been suspended. He uses physical space in a more abstract way, which he
explores through installations. Another one of his works being, Lava Floor, an exhibition which
consisted of lava rock covering the floor of the lobby of the exhibition space.
Visitors were invited to walk across the
uneven surface to reach the galleries. Eliasson often attempts to bring nature
into the exhibition space, in such a way that makes the visitor physically
engage. A different way in which Eliasson explores space is through his
‘happenings’ or get-togethers, where scientists, artists, scholars,
dancers, theorists, spatial practitioners, and movement experts come together to
share, discuss, present, and experiment. These meetings are only loosely
planned in advance and are largely left to intuition and spontaneous moments.
The happenings are now almost annual, and named Life is Space.
The idea that space is infinite, lasting for eternity, durable, is one
which intrigues me the most. The hypothesis which first arose that the world
was round in Greek astronomy has ever since left our imaginations visualising a
permanently rotating globe. The idea that the Globe, the planet we live on, is
left spinning for eternity, is an ideology many cannot imagine or understand, travelling
the world for perpetuity. The idea that space is endless, never reaching the end,
is almost haunting. A space so big that none of us can even imagine. This
almost creates a blue emotion, endless, like a story book never coming to an
end; people don’t like to be left not knowing the outcome, a story that never
ends.
It is here that Yayoi Kusama comes in once again, where her iconic polka
dots, and her theory that they are infinite. With her life dedicated to
spherical shapes, the ideology that her polka dots are infinite has been the
theme leading to many or her unquestionable works. The 80-year old avant-garde
genius has been battling with hallucinations ever since childhood, being
diagnosed with “obsessive neurosis,” denotes a condition in
which the patients mind is intruded upon (against their will) by images, ideas,
or words. Despite this the Japanese artist has painted some of the most
visually complex and conceptually provocative paintings, in the world today.
Kusamas
Infinity Nets are a prime example of
her obsessive use of spaces. Paintings “without beginning, end or centre, the
entire canvas would be occupied by a monochromatic net. This endless repetition
caused a kind of dizzy, empty, hypnotic feeling.” The result is a design that
is neither random nor systematic; reminding one of a river in which the
rise, fall, and direction of the glistening surface is shaped by the structure
of the riverbed. Generally, these marks curve
in the same direction while gradually shifting up, down, left, or right. This
fine detail shown by the excessive use of tiny polka dots, further explores the
different ways in which space can be used expressed. In this case by the fine
movement in colour, and minute sized polka dots. Her attempt to make the
invisible visible is explored not only through Infinity Nets, but through her Mirrored installations, which I thankfully
choose not to bore you with, in my repetition of delight for her mirrors.
The emotion or
sensation that you feel when you enter a room is created by the use of space
around, and in it. The feeling that an installation can create within a
physical space, is just one more aspect to space, that I wish to investigate.
Whether it is a colossal, remote, extensive space of emptiness, or the sense of
claustrophobia, most installations create an emotion within its physical space.
One artist, who undoubtedly creates an effect and emotion,
is Anselm Kiefer. He explores vast and never ending spaces through texture and
scale, and is someone whose work has had a huge impact on me, emotionally. It
is when you see his works in life form, which I experienced at his exhibition
at The White Cube Gallery; consisting of vast, bigger than life paintings and
sculptures. Their settings and physical environments that they were located in
were, if anything, the most important features to the works. Located in a
series of humungous, blinding white rooms, the exhibition hung the oversized
paintings on an even bigger backdrop of again, empty white walls, matched with
the bare space of reflective polished marble. The setting of the exhibition
only further created impact, as well as a distinct sense of remote and
loneliness. Almost an empty, drained feeling and atmosphere within the whole
gallery, as the setting was matched with the eerie noise of silence. It was the
paintings themselves that created a similar impact, yet this time more of destruction
and even sadness. The physical attributes of life size objects hanging off some
of the paintings only drew me in further, wanting to touch and explore the
painting. The use of perspective and texture gave a centre point, again drawing
me closer to the painting, in addition to giving it a focus point.
Artists such as Paul Winstanley go for a more restrained
and subtle approach, with relatively simple and obvious paintings. For example,
TV Room V, a modern interior, which
gives you the chance to imagine and decide on the outcome and meaning of the
painting. His silent empty spaces explore locations that we can all relate to,
but in very different circumstances and ways. His bland rooms are empty of human presence,
yet filled with an atmosphere of melancholy and hidden stories. This painting
does not so much show an event as the anxious anticipation of one. Another
painting of a waiting room explores the fascination in personal spaces, and
collective memories.
Another artist who
focuses on the space around, and the emotions that it creates, is Uta Barth.
This German-born photographer uses photography for aesthetic art, using the
depth of field and focus to purposefully create blurry or off-centre
photographs, creating an interesting perspective. Giving the illusion that the
cameras focus is else-where, with the task of making people try to identify
familiar objects. Catching the feeling and emotions of the room is what Barth
seems to be best at, allowing them to interpret the art as it seems to them.
The lack of titles for her photographs gives the viewer even more freedom, to
examine the abstract art in their own way, something that I think Barth was
going for. Her series …and the time, which she created, back in 2000, which
explores imitating pure observation, with the task of capturing the sequence of
light through her windows. The unusual setting of the off-centre photographs
head just peeking out from the bottom of the photograph, turning your focus to
the reflective light with shines onto the back wall. With the sofa appearing as
just a reference point, defining the background as a wall. The paired
photographs have a slight change in the camera’s position, focusing on the idea
of observation, and the different yet similar angles that areas can be viewed:
As when we observe, we don’t always come back to the exact same point.
Physical space can
be used in a variety of ways through which I have explored; from the more
obvious installations, to the more ‘hidden’ and unapparent. Physical space can
be used in an installation anywhere and everywhere, the room you are sitting in
now is an installation in its own right. We all have our own physical space,
our own installations; the box that you bring your 8 week-old puppy home in,
that is its own installation, the physical space it is inhabited in until
released. Physical space can be used differently to create the illusion of more
space, through mirrors, reflective surfaces, images bouncing off each other in
a compact installation. Positive and negative spaces in installations are often
dismissed and overlooked. Whether it is the emotion that a space creates within
its physical environment, or the message that it sends, the way physical space
is portrayed in its environment, its installation, is a matter which is purely
discounted.
