In lieu of an abstract, here is a brief excerpt of the content:

© 2000 ISAST LEONARDO, Vol. 33, No. 3, pp. 187–189, 2000 187 ARTISTS’ STATEMENTS CLERESTORY Jacquelyn Martino, Philips Research USA, 345 Scarborough Road, Briarcliff, NY 10510 U.S.A. E-mail: . Received 28 October 1999. Accepted for publication by Roger F. Malina. Clerestory is an installation in progress. It takes its inspirational origins from architecture , narrative and reflection. The conceptual framework of the piece is the architectural construct of a clerestory, or clearstory. A clerestory can be an outside wall of a room or building situated above an adjoining roof and pierced with windows to admit light to an interior. Alternatively , it may be an interior space at the clerestory level in a room or building . While clerestories are most typically seen in churches, they also occur in barns, railroad cars and other structures where additional light is desirable. As a metaphysical embodiment of a clearstory , the installation also references personal narrative and the desire for the light needed for reflection. Our personal stories are never clear. We move through life constantly creating , evaluating and editing our personal narratives with respect to ourselves and others. We juxtapose our interiors with our exteriors as our public and private personae become delicate flows between outer influence and inner examination. Drawing on the play between the interiors and exteriors of architectural structures as well as that between inner and outer selves, this installation provides an environment for reflecting upon and recreating personal narrative. In such spaces, our ability to reflect upon the past influences the fabrication of our future history. Clerestory is a space for reflection , meditation and renewal of inner balance that allows us to focus on outer interaction. In a sense, the physical environment extrapolates to a virtual place within our physical being. The metal sculptural structures of Clerestory hang from the ceiling of the installation space. Reminiscent of doors and windows, the individually framed structures are the physical transference Fig. 1 Jacquelyn Martino, Clerestory installation detail, 14 × 8.5 × 1 in, 1999. Image output onto semi-transparent substrate and framed between digitally milled aluminum and plexiglass. The aluminum is treated with iron filings and acid to create an aged effect while reducing weight for hanging. This structure makes up one of 25 window- and door-like hanging elements that comprise the installation space. (© Jacquelyn Martino) 188 Artists’ Statements points between our physical and virtual selves. As a collection, they further suggest the rooftops of a cityscape, implying the greater context in which we interact . Framed within the structures, we see original, semi-transparent digital paintings that suggest at times that we are inside looking and out and at others that we are outside looking in (Fig. 1). The content of the paintings suggests a representation of real spaces while simultaneously encouraging an abstraction of reality. Subtle questions arise: are the scenes real or fictitious? Are they constructed from external physical references or internal meditative imagination? The arrangement of the hanging elements , the lighting of the space and the framed images printed on clear material allow for the “projection” of the images onto the surfaces and onto visitors to the installation space. The semi-clear image surface allows visitors to look through the structures, revealing other hangings and people in the space. Additionally , the frames cast shadows about the larger context of the environment . These plays in lighting, imagery and viewing direction provoke both mild confusion and reassuring reference . The physical and metaphysical constructs assist the viewer-participant in a continual play of opposites—light/ dark, inner/outer, self /other, real/virtual . As the participants move about the hanging structures, they engage in the environment either explicitly (by choosing to use the imagery as points of departure for reflection) or implicitly (by effecting the play of light and shadow as they negotiate their movements with others in the environment). HITAVAETTUR AND THE IMPLICATIONS OF GEOTHERMAL SCULPTURE Robert Dell, 421 Washington Street, Tappan, NY 10983, U.S.A. E-mail: . Received 16 August 1999. Accepted for publication by Roger F. Malina. Manifestations of helio- and geo-generated energy—wind, sunlight, water flow and lightning, etc.—are traditionally used by kinetic artists to trigger configurational or other perceptible changes in their work. These...


Additional Information

Print ISSN
pp. 187-188
Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.