Spin Out (for Bob Smithson) 1972-73.
Kroller-Muller Museum, Otterlo
of location
An elliptically shaped enclosure with steep walls and dense foliage along its rim. A single pathway, at ground level, permitted entry to its sheltered interior. Inserted into this basin at positions approximating 12, 4, and 8 o'clock are three steel plates, each measuring 10 feet by 40 feet by 1 1/2 inches. These walls create a force field at the heart of the outdoor room, a spatial vortex that exerts an alternatively centripetal and centrifugal pull on anyone approaching its center. When viewed from above, however, the spatial dynamic reads quite differently: it becomes less visceral, more cinematic, as the viewer's gaze is constantly interrupted by the trunks of trees hugging the basin's rim.
2 comments:
In relating the installation to the film (Rear Window), I have been looking at the idea of privacy. People tend to cling to an object in an open space such as a tree or the sculpture. This is the same in one's own space (apartment in a building). The vulnerable space in the film is the court yard, where the dog is found dead. Everyone can be involved and view what is happening. This instance of vulnerability is also placed in the center of the installation when you enter it. For my site/film I want to capture that moment when someone enters a space and makes that decision where to move first.
so there is to be a discussion about center and periphery. consider all of the senses...moving along and edge versus the center...sound, tactility.
the wall flower?
what is your metaphor?
please state is clearly.
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