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‘A limitless number of realities must exist,’ the protagonist of Ingmar Bergman’s 1978 film Autumn Sonata, Eva, insists, ‘not only the reality we can grasp with our blunt senses, but a tumult of realities that arch over and around, inside and outside.’ Confronted by the permanence of death, Eva eschews religious beliefs and arrives at a mystical theory of parallel worlds, and of a porous boundary between life and death. Bergman’s visionary thinking resonates with the existential concerns that unite new work by Iosilzon and Turner.
Bergman imagines different frames of reality interpenetrating one another, encircling our own reality’s central structure, creating unexpected meeting points where the thresholds between one world and another are thin. Bergman’s imagery could read as a description of one of Turner’s sculptures, tendrils comprised of horsehair and wool encased in netting that come together to entwine around metal supports. It could just as easily describe th…
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‘A limitless number of realities must exist,’ the protagonist of Ingmar Bergman’s 1978 film Autumn Sonata, Eva, insists, ‘not only the reality we can grasp with our blunt senses, but a tumult of realities that arch over and around, inside and outside.’ Confronted by the permanence of death, Eva eschews religious beliefs and arrives at a mystical theory of parallel worlds, and of a porous boundary between life and death. Bergman’s visionary thinking resonates with the existential concerns that unite new work by Iosilzon and Turner.
Bergman imagines different frames of reality interpenetrating one another, encircling our own reality’s central structure, creating unexpected meeting points where the thresholds between one world and another are thin. Bergman’s imagery could read as a description of one of Turner’s sculptures, tendrils comprised of horsehair and wool encased in netting that come together to entwine around metal supports. It could just as easily describe th…
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