One thing is for sure: the blue lights are no metaphor for mind-control.
Rather, questions of mind-control may be understood as a metaphor for the
bidirectional relationship of artwork to viewer.
Is it mere coincidence that blue and pink are the colors with the most
compelling scientific evidence to support their use as medicine?
That they are similar in this respect is somewhat curious because these
particular colors strike me as more chromatically polarized than black and
white or red and green.
Color as medicine is a strange idea.
But not as strange as color as medicine as art.
The installation is composed of juxtapositions—visual, cognitive, emotional.
Painting and sculpture. Stable and unstable. Daydream and nightmare.
Appearance and reality. Freedom and control. Public discourse and the world
of the imagination. Life and death.
These and other polarities, whose mutual incompatibility is emphasized by
way of their juxtaposition, are simultaneously merged by the closeness of
their contact, and exchange then lose their ostensible identities.
The tension that is created by this system of opposing forces produces an
instability that becomes both an integral part of the structure, and the energy
that ultimately undermines it.
The destructive instability is in turn counteracted emergent layers.
Difference becomes sameness, as sameness becomes something else
The very principles of juxtaposition, by which the installation operates, are
counteracted by that something else again.
Nothing is as it seems because nothing is allowed to stay the same—visually,
Text by Angus Cook