Hallowe'en artistry was on display in my neighbourhood this week, with a pumpkin sculpture that looks as if it was carved in the spirit of Kader Attia's The Repair: From Extra-Occidental Cultures (2012) -- an installation that extends the notion of montage to repair, as opposed to a consequence of repair, which, in the case of wounded soldiers, can be disfigurement. Attia's installation was one of the more powerful works I saw at what will likely be the last Documenta I visit IRL.
A couple days before, I stopped by Equinox Gallery, where Devon Knowles stained glass-based works were on display. I say "-based" because on several occasions the artist extrapolated a stained glass work into a single monochromatic form or two, hanging them adjacent to their source or by themselves. Below is her diptych, Winter Butterfly (2022):
Like the photo-based light box artists (N.E. Thing Co., Jeff Wall, Rodney Graham, Dana "Fire Box" Claxton)), Knowles leaves a space of 4.5" between her glass surface and its rear steel support. Viewed head on, you see that glass surface, but also the projection of its image in behind.
I see the potential for more to be made of these two surfaces -- the assembled and the projected -- in relation to each other (as montage?), particularly as the viewer moves from one side to the other.
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