Installation shot at The Douglas Hyde Gallery, Dublin
THE WANDERER
1999, fibreglass, metal, paint, halogen lights, velvet suit, wig.
“Caspar David Friedrich has served as a fixed point of reference and return for the Walkers. In their work, The Wanderer from 1999, they have liberated the Rückenfigur from his mediating position in Wanderer above a Sea of Fog. The viewer is left to ponder that other imaginary Friedrich painting, with a gaze now free to roam through the landscape unobstructed. Made object of image, the real presence in the gallery is a life-size replica of the figure clad in his green velvet suit and, significantly, carrying his walking stick. The Wanderer would seem to have lost the sublimity of the source painting were it not for the feat of levitation he performs, hovering a couple of inches above the floor on a cushion of white light.” Extract from Two Point(s) North by Claire Daigle.
See also Horizon. Installation shot at Temple Bar Gallery, Dublin
1999, fibreglass, metal, paint, halogen lights, velvet suit, wig.
“Caspar David Friedrich has served as a fixed point of reference and return for the Walkers. In their work, The Wanderer from 1999, they have liberated the Rückenfigur from his mediating position in Wanderer above a Sea of Fog. The viewer is left to ponder that other imaginary Friedrich painting, with a gaze now free to roam through the landscape unobstructed. Made object of image, the real presence in the gallery is a life-size replica of the figure clad in his green velvet suit and, significantly, carrying his walking stick. The Wanderer would seem to have lost the sublimity of the source painting were it not for the feat of levitation he performs, hovering a couple of inches above the floor on a cushion of white light.” Extract from Two Point(s) North by Claire Daigle.
See also Horizon. Installation shot at Temple Bar Gallery, Dublin
