 |
|||
  |
 |
 n ‘Temporal Change‘ we are not told who is missing and being mourned, but we are made aware of absence and of the hope that loss can be made good in the underworld, where we ‘brush intimately against nothingness’. The smell of tar covered casts reminiscent both of garden ornaments and funerary urns is the first sense triggered as you enter the space, with there own internal light source, black cables hang in drifts from these cast back to the control unit which feeds the power to the flickering light blubs which responding to the sonic sound of wind. Five video monitors mounted on the gallery wall showing images of thunder and lighting storms on a six minute lope which is feed from a central video processor which controls the different aspects of the installation. Wind plays from speakers, sampled from outside the museums walls. As the philosopher Gaston Bachelard tells us, we also discern a bond between the world and the human soul: ‘Then there lives within us not a memory of history but a memory of the cosmos – times when nothing happened come back‘. And in those times when nothing was happening, the world was truly beautiful. |
||
 |
|||