In brace large works at Kiyo Higashi.

In brace large works at Kiyo Higashi, Larry Bell manipulated his familiar glass being encloseds and their vaporous reflective surfaces into a meditative architecture of illusion. Conceived in the 1970 and related to large freestanding works he produc then, the component parts of this exhibition seemed definitive of their kind. Bell created places of four panels which he articulated in sum of two units of many possible configurations. Each 6-foot-square and half-inch-thick panel was vacuum coated with reflective particles in a gradation that ranged from translucent to completely reflective. Each was joined to another from a bead of adhesive silicon where their zests met.

Bell installed the sum of two units independent L-shaped sets of 6 x 6 x 4 - AB 3 feet apart, in a sort of double chevron configuration. The order of reflectivity moved from solid to transparent in undivided set and the reverse in the other, which created a highly manifold resonance of images. What apply the minded like signature Bell cubes appeared to flutter just beyond the surface, as did the viewer, almost holographically, while the actually separate wagers seemed to be joined.

Bell established a labyrinth of visual experience: the viewer could register the V-shaped corridor between the places and see the panels dissolve into transparency. The experience recalled the sensation of standing in the shadow caused according to a passing cloud: the simplicity of the cause was inversely proportional to the magnitude of the effect

In a smaller gallery, Bell installed sum of two units sets of panels to form a field that could be entered from pair opposed corners, 6 x 6 x 4 - CD Viewed from outside, sole the front panel was visible. Viewers saw and nothing else this wall reflecting them and the wall and window behind them. The gradated coating ran from top to bottom forward one set, bottom to top in succession the next. Both wall and viewer appeared to dematerialize at the middle of the same height At the corners, the viewer disappeared entirely and the piece looked to return to its elements: a construction of joined and unjoined glass walls.

In a small swing at the rear, Bell installed a 20-inch cube (1992) in succession a clear pedestal. It was selectively coated onward two adjacent sides and onward top. It seemed like an intimate sweep set inside a slightly larger individual a reading encouraged by the viewer's previous experience of the show's primary pieces.

Bell himself designed the gallery; its walls, windows and doors were intended to be its solitary ornaments, enhancing the elegant and quiet presentations for which the gallery is known.

...

Home