Magazine article Sculpture

DENVER: Katie Caron

Magazine article Sculpture

DENVER: Katie Caron

Article excerpt

Hinterland Gallery

Drosscapes, Katie Caron's recent installation, pirates the language of natural history dioramas to depict an eerie and toxic landscape. The story it tells is unnerving because it is hopeful: nature doesn't wither on contact with chemical contamination, but changes into something strange, a third landscape. A treelike form grows down from the ceiling, its elongated branches reaching into a mossy reflecting pool, where they turn day-glo red, pink, green, and white on contact with the water. Is this water nourishing or poisoned? The colors are invasive, and the white looks like pus. The pool reflects the underside of Caron's Yggdrasil, and gazing down into the reflection, we see those glowing branches reaching directly for us, the way they would reach for the sky, were the world not upside down, or, if the tendrils were prehensile, the way they would reach for prey.

The pool itself is made from sheets of mylar, bordered by a ring of moss (constructed, like the tree and tendrils, of expanding foam and flocking). An abstract film (drops of ink veining into clear fluid) projected into the pool is subsequently reflected onto the walls of the space, creating lurid catacombs of light and bathing the whole in an oddly comforting, television glow.

Caron's work is typically immersive, modeling hybrid landscapes of nature and industry (and their shared structural forms), but this environment opens additional metaphysical spaces. We have three representations of one image: the tree itself, its reflection, and a projection that has been altered by the geography of the tendrils. …

Search by... Author
Show... All Results Primary Sources Peer-reviewed

Oops!

An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.