Ammerman Center for Arts and Technology
Thursday, February 25, 4:30 – 6 p.m.
Friday & Saturday, 11:30 a.m. – 1:30 p.m.
White Box Gallery, Cummings third floor
The architectural video installation project Still finds Edwin Abbott’s novel Flatland: A Romance of Many Dimensions as a primary inspiration, a story centered on two-dimensional geometric figure, a Square who is occupying a land of flatness, but through a series of encounters with a higher dimensional being who is a sphere discovering a greater reality outside of his own limited gates of perceptions. Likewise, the virtually rendered work of Snow Yunxue Fu thrives to guide the viewers into a metaphorical higher dimensional world, where the artwork becomes necessary physical symbols for the viewer’s physical perception in relation to the greater reality, and the installation function as a port.
In the book, the narrator is a square who is visited by a three dimensional sphere. After the Square’s mind is opened to new dimensions, he dreamed of a visit to a one-dimensional world (Lineland) inhabited by “lustrous points”. He attempts to convince the realm’s monarch of a second dimension; but is unable to do so. The sphere says to the square upon his effort in convincing the point in the Pointland that there are more dimensions outside of his narrow acknowledgement: “You see, how little your words have done. So far as the Monarch understands them at all, he accepts them as his own – for he cannot conceive of any other except himself – and plumes himself upon the variety of Its Thought as an instance of creative Power. Let us leave this god of Pointland to the ignorant fruition of his omnipresence and omniscience: nothing that you or I can do can rescue him from his self-satisfaction.”
Flatland is a materialized idealism. Through its examination of the view of multiple dimensions, it offers an insightful metaphor towards human being’s existential relationship to the larger world. Extending out from the pictorial and expand into the land of virtual reality, my projections and installations becomes a necessary physical metaphor for the discourse of human physical perception, by which the quality of the lager greatness (which referred historically as the sublime) is framed, inviting the viewer to physically and mentally enter into a liminal Gorden Matta Clark like interior within a digitally constructed space, where the viewers’ body is motivated and their perception exploited. Each piece functions as a window into a parallel dimension that stimulates both consciousness and space.