Selection by Jan Robert Leegte
"Each of us is limited by the space we inhabit. The walls, houses, buildings, streets, and cities, order our movements and situate us in a precise setting. Space is thus made up of frames, whether tangible or virtual, that create boundaries or links between indoors and outdoors, and public and private. Often, these divisions have become unavailable to our embodied perception: we no longer know how to ‘look’ at the space they create. Only rarely do we glimpse, or are we moved by its lines of demarcation, meeting points, or dimensions. In my work, I am trying to find ways to defy this transparency brought on by habit, to perceive spaces and their frames differently. I want to disassemble assumptions related to visual perception, and question principles of reality. What do we define as reality? What roles do frames play in the way we perceive reality, in the way we ‘see’ things?
There is always a frame to begin with: the camera view finder, the walls of a gallery, a city or town, the rooms we live in, and the work is to be experienced with other overlapping sets of frames. We create systems of frames to identify what surrounds us, to structure thoughts, images, concepts, ideas, or to dictate a point of view. The traditional picture frame or screen separates the work of art from its surroundings, and may help focus the viewer’s attention. At the same time, a frame unites a work with its context.
There is always a frame to begin with: the camera view finder, the walls of a gallery, a city or town, the rooms we live in, and the work is to be experienced with other overlapping sets of frames. We create systems of frames to identify what surrounds us, to structure thoughts, images, concepts, ideas, or to dictate a point of view. The traditional picture frame or screen separates the work of art from its surroundings, and may help focus the viewer’s attention. At the same time, a frame unites a work with its context.
How rigid are these frames? Frames are constantly remolded by technology, political changes, fashion, art movements, and the like, but in all cases, it seems that there is always an edge, something to delimit, a larger or smaller frame[!]. How clear are our perceptions of limits? Where does the work of art begin, where does it end? What are the assumptions related to the inside, the outside and the frame itself?"
-A section of Evelyne Leblanc Roberge Book
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