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Close your eyes and visualize an obstacle, a barrier of some kind. Does it have a soft or a hard opening? Is it flexible like a fleshy membrane or stiff like glass? Could it be an invisible energy field or a subtle cultural border?
Imagine your body weaving through this massive volume: pressing/dipping/stretching/shifting/curving. Round and around, you begin to move, to dance. The obstruction meets your force, face-to-face, body-to-body. When you push you are pulled; when you turn you are turned. Spinning and slipping, reflecting and deflecting, you lose track of outside with inside. Your subjectivity catches against objective reality. A blurred version of yourself—doubled, tripled, quadrupled—you have eight arms and legs for days. You becomes them.
This is the kind of pulsing choreography explored in Oliver Husain’s new experimental video installation, FRENCH EXIT. Animated by a revolving glass door, entrances lead to exits as inside collapses with outside. Like a g…
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Press Release
Close your eyes and visualize an obstacle, a barrier of some kind. Does it have a soft or a hard opening? Is it flexible like a fleshy membrane or stiff like glass? Could it be an invisible energy field or a subtle cultural border?
Imagine your body weaving through this massive volume: pressing/dipping/stretching/shifting/curving. Round and around, you begin to move, to dance. The obstruction meets your force, face-to-face, body-to-body. When you push you are pulled; when you turn you are turned. Spinning and slipping, reflecting and deflecting, you lose track of outside with inside. Your subjectivity catches against objective reality. A blurred version of yourself—doubled, tripled, quadrupled—you have eight arms and legs for days. You becomes them.
This is the kind of pulsing choreography explored in Oliver Husain’s new experimental video installation, FRENCH EXIT. Animated by a revolving glass door, entrances lead to exits as inside collapses with outside. Like a g…
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