by Isabel Anderson
Ana-Victoria Aenlle, "Temporary
Life," video still, 1999.
Jim Campbell, "Ambiguous Icon 1
(running, falling)," custom electronics/
LEDs, 10 1/2 x 14 1/2 x 1", 2000.
Chris Forfar, "Sleepless" (detail),
computer sfn/fugix print, 22 x 28".
Jim Jenkins, "Fallout," mixed media
with motor, 31 x 13 x 21", 1997.
Lili Lakitch, "Paradise II,"
and argon gases in glass tubing,
45 x 41 x 8", 1996.
Kathryn Metz, "Interior Garden,"
plexiglass, 20 x 17 x 10", 1977.
|Because of his unusual experience as the child of a white American family living in Indochina during the War years, Chris Forfar works within the nexus of insider-outsider. In addition to wall-hung images which exploit four-dimensional effects as only the computer can, he shows an interactive video of various bridges in Los Angeles, complete with sounds of rushing traffic and dramatic real-life stories. The image of the bridge is a natural metaphor for the joining of disparate experiences; you construct your own narrative.
Jim Jenkins three motorized works materialize language in a way that highlights the choices and insoluble dilemmas which drive people in their unending search for authenticity or escape. Torments depicts a waving feather that almost, but never quite touches the letter S. This cranky toy is placed under a bell jar, lending it a perverse elegance.
Neon and argon tubing are the materials Lili Lakitch is known for. Paradise and Paradox are aluminum profiles with film reel and glowing gaseous connecting tubes. The mystery of the mind and body are also the subjects of Kathryn Metz light box of body x-rays screen-printed onto sheets of plexiglas. These sheets are placed one in front of another, their translucent colors intimating interiority and contemplation.
This is a group of individually distinct visions that together argue that artists today use new technologies with familiarity and assurance. Here these means seem to lose their materiality, or at least become as comfortable and as personal as pencil and brush.