Myrvold at Mordoch's
Sept. 22 - Oct. 28, 2017. Lelia Mordoch's Gallery, Paris.
Pia Myrvold's last works through photographs
and videos and some installations, for instance Transforming Venus
(2012), whick presents the Love's and fertility Goddess as an artefact evolving
down to pass out.
Another piece, Wands, showing interactive divital suspended scultpures.
Diccan's Notes. First version, subject to revision and complements.
The whole gallery's space gives their full dimensions to large pieces, of three
- "Robotic" assembly of various materials, including some LEDs with rather simple animation.
- Large screens with stil images, with swarms of geometric shapes around global structures. High resolutio images and subtly toned colorings.
- Large screens with generative/moving images, with fluid ("organic" ?) moves, rather like molted metals. Here also, high resolution images.
The gallery has published a richly edited book, with large pictures and a general texts (by Lélia Mordoch, Pia Myrvold and Christine Buci-Glucksmann) setting all the pieces in the general theme of "Transforming Venus". No indication is given ab out the programming code
We are far from the grandiose global world construction Avatar
shown at Centre Pompidou in 2014. A gallery lives from collectors and not from
public funds, then has to cast major projects into marketable pieces (see for
instance our comments about Inner
A comparison with Alain Le Boucher oeuvre comes naturally to mind, since hee also is regularly presented by this gallery, and is also combining sculpture with LED lighting. Shortly: Le Boucher searches abstract shapes and sophisticated mathematical code to control the lights scenography. As for Milene Guermont, she favors massive (concrete) if not monumental works, also with rather simple coding, but including sensors for some interaction. Myrvold (in her sculptures) uses quite basic coding (as far as we could observe), mainly to animate her exuberant composition of shapes and matters, including supple and colored plastics.