In 1933, the eminent, genre-bending Japanese novelist, Junichiro Tanizaki, composed a landmark essay on aesthetics entitled, In Praise of Shadows. It is more stream of consciousness than formal essay, part epic poem, part cultural theory. It revealed something different about the obvious; something deeper about the overlooked qualities of space and light. It led us by the hand back into the value of darkness.
Wendy Heldmann’s paintings also explore the obvious and seemingly unimportant, leading us into the abandoned, post-production, end-of-term architecture studio. This world is heaped with the artifacts of architectural exploration: scraps of paper, foamcore, laser-cut acrylic sheets, cardboard coffee containers, plastic bottles still partially filled with colorful liquids, dusty respirators, demolished models, battered, smudged monitors, chairs overturned onto tool trolleys, the spidery arms of darkened desk lamps. All of this becomes worth looking over again.
More after the break.
