I think of representations of light as metaphors for the gap between the material (what art is made of) and the ineffable (what art is sometimes expected to convey). One example of the representation of light is the lens flare, a sparkle of light refracted in a lens. As a sign in visual culture, the lens flare has far surpassed its photographic origins to become a special effects cliché. It’s used to highlight products in advertising, to signify cleanliness, to aestheticize space in science fiction renderings, and to make a smile special. Often, a lens flare on a smile—especially when accompanied by the sound of a small bell—signifies a happy, playful and perhaps even magical moment, where everyday banality and perception have been momentarily escaped.

 

I am interested in what artist Stephanie Syjuco characterizes as “the social life of objects”—how an art object mediates a relationship between artist and viewer. This relationship can be expressed as a social bond, the result of art-as-gift (Lewis Hyde).

 

In this case, the mirror is a humorous intervention on the typically passive role of the viewer. To engage an art object, especially a tableau, a viewer stands and looks at it. In this case, she will see her reflection. If she recognizes the design as a lens flare, she may reposition herself to align her smile with the design. Some viewers have even been compelled to add their own auditory special effect—“Ding!”

 

Despite the fact that the lens flare is used in popular culture to the point of irony, I see this work, in its most basic function, as an instrument for making people smile. Even if the viewer smiles ironically, her mood may be briefly lightened. It’s a small gesture towards promoting happiness in the world, in spite of the times—optimism may be rare, but it’s not impossible.

 

About the Miniatures

With an eye towards accessibility, I found the concept of the original sculpture engaging enough to warrant a larger distribution channel.

 

Marcel Duchamp, who painstakingly recreated his works in miniature form for his boxes, is clearly an influence for making miniature multiples. But I was also attracted a long process that would allow time to consolidate my ideas. I realized that the miniature was not a copy, but a new, distinct work—it explores the social life of the original sculpture by inserting it more directly in to the world. Literally and figuratively, the Miniature Multiple is a gift.

 

Since I’m mailing the multiples in its own packaging, I think this work takes cues from Duchamp’s Green Box as well as Cracker Jack prizes.

Images

1. Untitled (Lens Flare, Large Mirror), 2007, mirror, frame, lights, 26" x 32" x 2"
2. Untitled (Lens Flare, Large Mirror)
3. Untitled (Lens Flare, Large Mirror)
4. Untitled (Lens Flare, Small Mirror), 2007, etched mirror, colored pencil, frame, 13" x 16 " x 2"
5. Untitled (Lens Flare, Tiny Mirror) (Miniature Multiple), 2007, mirrored paper, printed paper, vellum, laser-printed brochure, plastic bag and laser-printed hangtag, 3.5" x 5", edition of 170
6. Detail with brochure