critics: Hernan DIAZ ALONSO & Ivan BERNAL.
suckerPUNCH: Describe your project.
Rachael McCALL: “The Disappearing Mass” works on the problem of edgeless form and undefined mass through distortion, ripples, wrinkles and striation overlapping in different directions. . . .
Glass, Gloss, Smoke & Mirrors: The Grand Palais, Paris
“The Disappearing Mass” works on the problem of edgeless form and undefined mass through distortion, ripples, wrinkles and striation overlapping in different directions. This striation works at different resolutions, from smooth folds and liquid figures to more pixelated and crystallized articulation at different scales. These qualities fragment and distort the legibility and reading of the interior figure, developing a tension between chrome interior and glass exterior through the affects of viscosity, refraction, and reflection. The entries spill out with a tension, like liquid mercury, and the interior ruptures and tears apart to form articulated apertures, skylights, and entrances. Initial studies looked at strobe light photography of oil and water—the very second that the two liquids, black and clear, meet . . . before they combine into gray. The project challenges the typical heaviness of formalism, having light, etherial, and sublime qualities, yet at the same time has a blurred and distorted monumentality and heaviness. It operates as an overall object, but is distracted by articulation and striation blurring the edges of the mass.
sP: What or who influenced this project?
RM: Shinichi Maruyama’s strobe photography of oil meeting water.
sP: What were you reading/listening to/watching while developing this project?
RM: Reading Yve-Alain Bois and Rosalind E. Krauss, Formless and Composition/Non-Composition.
sP: Whose work is currently on your radar?
RM: Louis Vuitton Series 2, Frank Gehry, Pita & Bloom, and P-A-T-T-E-R-N-S.