 Anne Senstad From Other Worlds
Curated by Sarah Crown
May 2 - July 21, 2018
Mon-Fri, 9.30 am - 5.30 pm and by appointment
The Yard - Columbus Circle, 33 W 60th Street,
New York NY, 10023 The exhibition runs on the 2nd, 11th and 12th floors. Curatorial text: From Other Worlds On my light and color installation work by curator Sarah Crown, published in Berlin Art Link: Light Writes Always in Plural FROM OTHER WORLDS
From Other Worlds presents photographic works from two series Anne Senstad produced between 2013-2015, Universals Foldouts and Color Kinesthesia. By interweaving an elaborate amalgamation of an analogue and technological tapestry, her work examines the phenomena of light and color, space and volume; the narratives of perception and the processes within hybridization of elements.
Color Kinesthesia derives from projections of color over time, into corners and structures, where the blending of one color into another, cause chromatic compositions in an impregnated space. The kinaesthetic colors continue to create new identities as Senstad photographs them onto color film negative, allowing for chemical reactions to take place on the celluloid level. These elements embedded in focused acts of seeing and observation carry across into the idea of solidifying the imagined space, where a series of sculptural works were born from her light and color installations; Universals.
In Plato’s ideas of Universals, the objects are abstracts with characteristics of perception, much as in Malevich’s Suprematism. In Senstad’s foldouts of her Universals sculptures, she has deconstructed the very object she created, the map of her creation, and unfolded it to a recipe for re-assembly. As a silent witness to the final sculpture-potential, the shape contains collaged color film in the place of its original completion, a finality in itself, yet a dialogue between before and after.
In her practice, Senstad delves deeply into the relationship between the senses, especially between the ocular, the science of color vision and the aural language. Engrained in the foundation of her work we find perception — how what we see, including the colors around us, shape how we feel. The stimuli are objective but the experiences are subjective, mirroring ourselves, our brains, and our psyches. Senstad’s work follows this complex investigation of what is physical versus what is psychological, and where these lines blur. It does so generously, unveiling atomic truths on both ends of the spectrum and at many points in between.
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