Landing ~ The bubble


When landing on unknown terrain, one has to approach the ground very carefully so that the bubble remains intact. Economy, genetics, and high technology are recently inaugurated landing strips: ground control and deceleration required to avoid crash. Landing ~ the bubble addresses the need to learn how to read new signals while remaining sympathetic to the undecipherable. Twenty-one paintings on paper by Piot Brehmer on the walls interact with Julianne Swartz’s light installations which play with every architectural aspect of the gallery space including closets and restrooms.

Piot Brehmer makes paintings of imaginary airports landing strips at night. Light dots in motion stretch onto dark blue or purple backgrounds. From one painting to the other, one constant and two variables: the format remains the same while the color and disposition of the light dots vary in infinite combinations: pink-blue, green-orange, purple-red… modulated in dense symmetrical networks or more hazardous perspectives.

Julianne Swartz's work portrays a precarious technology. Translucent screens and lenses amplify and reproduce events happening in their background: photo and video in real time. Her camera-less-videos -- round or oval sections of plumbing pipes containing convex lenses-- project oscillating and blurred upside-down images. Using electrical conduit, fiber optic cables and blue plastic tubing, she builds optical machines that destabilize our perception. When projected through her lenses Piot Brehmer’s paintings become very ambiguous. Through the window of the Camera-Less-Videos the illusion of motion and distance is intensified, a landing experience in real time.

Their work is about the fragility of communication. Transmission/reception, on/off signals, flashing lights, colored codes by referencing technology create a gently mutating perspective, as the artists constantly repeat a desire to move from speed of transmission to the mission of transmitting.

Josee Bienvenu