The joker

The joker

The joker

2006
sofa, dry wall, plaster, paint, pencil drawing, DVD projection
400×376×587 cm

The joker The joker

A giant playing card severs a gallery space from ceiling to floor. Circumstance follows no ordered scheme, rendering logic as pliable as dreams. The world that one might predict is not the world that is.

A tilted white wall cuts through a gallery space. Each of its corners smoothly dissolves into the ceiling, existing walls and floor of the space, granting the barrier an even relationship with the existing architecture. At these points of convergence the panel merges into its surroundings homogonously, blurring the distinction between its slanted surface and those of the room. The unimpeded conditions of the panel slice a sofa in two parts.

When viewed from the entrance to the space, a small portion of the couch is visible extending out from the white barrier. It appears from the room’s grafted wall, cleanly dissected without the slightest indication of resistance.

Upon entering the second part of the space, the wall leans over the viewer, revealing the other part of the divided sofa. A circular video projection clips four surfaces: the room’s floor and wall as well as the panel and a minute portion of the sofa’s seat. It is here that one sees a pencilled drawing traced upon the inner surface of the panel. The depiction is that of a court jester, or Joker, releasing a deck of cards from his hands. The cards tumble downwards, towards a miniature globe upon which he stands. The shape of the pencilled-traced globe coincides with that of the circular projection. Collectively the picture of the Joker and the shape of the tilted panel insinuate a gigantic playing card that has pierced the gallery space and its lone piece of furniture.

The vibrant, illuminated globe continues on its axis, apparently oblivious to its mischievous guest and the score of fates raining down upon its hemispheres. The Joker is almost a phantom high above the affairs of the world, towering over the viewer within the space as an indefinite dealer of fortunes, allowing to fall what may. Here his message has perforated the state of daily normality within the gallery space with the fluid agility of consequence. The altered conditions of the room, perhaps in an attempt to salvage their concept of appearances, have translated this intervention into a viable adaptation of paint and plaster. The penetrated space, like the glowing globe, continues to be, bearing the displacing amendments of time.