KARINA PEISAJOVICH | Painting, Light, & Shadow
I started to experiment with these cutout papers, and in Domestic Landscape, I also started to paint on the walls. This was also a sequence because I continued working with the light console. This was in Gale Gates, and I had a big wall of—in metres it's nine metres—I think it's less than 30 feet.
I made a drawing on the wall taking into account the same space where the piece was installed.
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Domestic Landscape,
Halogen light, water based paint, timer and paper. Loop.
9m x 2,5m x 4m
Gale Gates, New York, US
2002 |
I think in this piece I was trying to mime painting. I was more conscious about what I was doing, that I was using light, as Gregory [Volk] said, as light, and I was painting with light and I was painting with shadows, using real shadows. I was using all the elements I used to use in my paintings, so I started to take advantage of what I was doing, investigating more and more about what this medium was giving to me.
Here lights and shadow projection play together with painted shapes. The images change because of the light console and also because the viewer is in the space walking, so all the time the view of the image is different.
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| Domestic Landscape (detail) |
Here you can see—this is a piece of paper, like a stick—there is a light that is projecting a shadow, so what you see in the back is the shadow of this cut-out paper. And then I painted the wall, to complement—I don't know if it is ok to say it in this way—the shadow.
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