In it, he employs rudimentary technology, along with mirrors and lenses, to take his oeuvre beyond the site-specific installations of Irwin, the skylights of Turrell, and the treated glass cubes of Bell.
“OPEN” consists of roughly two dozen pieces, most of them never before exhibited, sprawled throughout the warehouse-like space that straddles the city’s Japantown and arts district. In the main gallery are four vertical kaleidoscopes, two of them penetrating the ceiling and admitting light that activates reflection-fracturing mirrors, enshrouding viewers in color and confusion.
“Device for seeing potential solar futures” incorporates plastic bags infused with yellow light that dance overhead like medusa jellyfish. Steps away is “Kaleidoscope for beginning at the end,” which uses mirror foil, water, acrylic basin, oil, and pigments to generate moving patterns of gold and black, oozing in geometric forms.