I sogni (dreams) is a work that captures the viewer within layers, both physical and conceptual. How do we comprehend objects or images? We in part understand them through context. We understand each in relation to the other. Yet in i sogni the physical relationship of the images and objects continually shift based on the viewers shifting perspective. This is achieved by the layered nature of the images within a reflected space. And in changing perspective we can change perception. This physical construct is connected conceptually to the nature of dreams. What is the true meaning of a dream? Its meaning can in part change based on our desire to understand and reexamine it’s content. I sogni is about the desire to fly, but more generally it is concerned with ideas and ideals about aspiration.
The wall panel is constructed using the golden rectangle. The arcing line etched in the panel is residue left from the process in designing the proportions of the panel. But it now also functions as visual markers for the flight of the birds. There are mathematical formulas and diagrams that relate to the science of flight etched into the glass. There is Bernoulli’s equation, which defines the airlift needed for flight. There is also an equation known as turbulent boundary layers. This is an equation that defines an abstract or theoretical place, a place between the actual wing and the airflow, which causes the action of lift. There is a certain amount of poetry within this equation that reflects the nature of dreams and the soul of this work. It is about intangibles, but intangibles with significance.
The rabbit and the hands are part of the 3-dimensional world, and acting as our surrogates they pull us into the dream. I use the image or form of the hand frequently in my work. The hand on one level always signifies creation for me. It is the main tool of the artist, of course that is after the mind. Within this work depending on your perspective the hands are also releasing or capturing some of the birds in flight. The rabbit has the image of feathers etched onto the backs of the ears. Can the rabbit fly? Or is the imagery only a part of its wishful desire. These objects are on shifting ground, as the image of the viewer is also brought within the reflected surface of the work continually shifting in relation to the forms, images and content of the work.