Last month I reviewed Lumpen, an installation by Julia Couzens and Ellen Van Fleet. Julia Couzens' work, Standing on the Feet of Pistoletto, Memory Conspires to Mobilize a Blanket of Dreams was still yet unfinished at that point, according to the artist. On April 15th, the day before the exhibit closed, I revisited the gallery to see how the installation by Couzens had changed.
Standing on the Feet of Pistoletto,
Memory Conspires to Mobilize a Blanket of Dreams.
In my previous review I theorized that the objects were climbing the wire and binding themselves together, to create this blanket of dreams flying off. But, in Couzens' revised installation, the items seem to create some sort of vehicle. The shape of the installation reminds me of some sort of air craft, the stacks of covered bricks and wooden planks acting as wings.
Detail of Standing on the Feet of Pistoletto,
Memory Conspires to Mobilize a Blanket of Dreams.
Julia Couzens uses many of the same objects as she did earlier in the installation, but there seems to be a different kind of energy exuding from the piece now. There is something more joyful and free to the installation now, which I feel fits with title.
Detail of Standing on the Feet of Pistoletto,
Memory Conspires to Mobilize a Blanket of Dreams.
The way that the bricks are stacked here brings them more to the focus of the piece, instead of just being the foundation of the 'bed'. They still act as foundation, as they underlying ground pieces. But, the higher stacks and mix of brightly colored bricks brings more life to them.
Detail of Standing on the Feet of Pistoletto,
Memory Conspires to Mobilize a Blanket of Dreams.
One of the newest and most fascinating features of the installation are the bundles attached to the wall, pictured below. They are anchored to the piece by chains, but their attachment to the wall makes them appear to be floating in the air instead of being weighed down.
Detail of Standing on the Feet of Pistoletto,
Memory Conspires to Mobilize a Blanket of Dreams.
I am very intrigued by Couzens' revisions to her piece and I would be very curious to know whether the artist believed that the work was done and if she was happy with the results, if she felt like it had revealed itself to her.
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