The window as metaphor has a large footprint in the history of Western art. It is an object whose function is to relate two realms: the inside and the outside, the public and the private. As an interface, it engages the two poles of a slew of other dichotomies. It is also a frame and a screen through which we apprehend the world and by extension, relate to each other. The window may even act as a metaphor for language itself which, as an agent of communication, hinges signifier and signified and mediates the origin and recipient of an utterance.
However, while interfacing two worlds, a window has us positioned on either side of its divide. Our vantage point is one of either looking in or looking out.
The windows in this series do not look out on an outer scene, they confront a viewer’s probing gaze with the partial display of a mysterious interior.
This object which simultaneously occupies two realms, which is the double articulation of their union and division, reveals as it conceals and like an individual's consciousness, lines the passageways between the public and private, the micro and macrocosm.
Framing a sollipsistic standpoint while drowning in a cosmic deluge, like windows, we are the openings in the walls of our common existence
Along with my meditations on the window as a connective and disjunctive apparatus, I have used its multi-paned incarnation as a device that facilitates a polyfocal vision. By allowing a plurality of visual elements to clash and intermingle on the same picture plane, I seek to elicit the sparks that engender new meaning.
“Windows of Engagement” has its roots in earlier bodies of work I developed such as my Streetlight collection, and the empty sign-holders of my Signs in Limbo series. Among other projects, I am currently working on an exhibition of the large scale works from the Signs in Limbo series, bifittingly re-created and mounted on salvaged elements of the urban detritus from which the works spring.