Christine Chaney, Roger Feldman


Buildings are supposed to make us feel secure. But Roger Feldman's architectural sculptures, collectively titled "Rock," are designed to be unsettling—literally. The three installations, each about the size of Thoreau's cabin, are built simply from 2-by-4s and other framing materials, and are meant to be experienced. So take off your shoes and enter. The structures are made to rock and teeter—one is constructed with an Escher-like zigzag of parallelograms—and they take random, disturbing lurches as you walk about. The most memorable of the three is sealed off like a sensory-deprivation chamber. I won't spoil the surprise of experiencing it for yourself, but like the best of James Turrell and Carsten Holler, it blows the doors of perception off their hinges and asks us to contemplate the fickleness of our senses. Suyama Space, 2324 Second Ave., 206-256-0809. 9 a.m.-5 p.m. Mon.-Fri. ANDREW ENGELSON


In Halo's exhibit "BUR(ID)DEN: an entomology of memories," Christine Chaney calls upon her inner Viking to exorcize her past. Begun during the spring equinox of 2004, also the eve of the artist's 39th birthday, "BUR(ID)DEN" first took shape as a performance piece at Golden Gardens in response to preconceived notions of marriage. Chaney filled the hull of a small vessel with drawings of 39 cupcakes, 13 small stones, and 39 white tulip petals, then set it on fire and sent it sailing out on the waters of Puget Sound. Her release of the vessel symbolized a relinquishing of ideas she had held onto for much of her adult life. At Halo, the artist deals with similar themes, albeit in less inflammatory fashion. "BUR(ID)DEN" now consists of different-sized ellipses cut from the pages of books and decorated with organic forms in soft graphite pencil and oil bar. These forms, representing 13 stages of life from birth to death, are displayed in pairs, sets of 13, or hanging from fishing line as delicate boats crafted of heavily shellacked bristol board. In Book Boat I, Book Boat II, and Book Boat III, Chaney's cutout forms appear in sculptural relief between the bindings of Gray's Pocket Anatomy, Modern Marine Engineers Manual, and Basic Astronomy. Pages plundered, they no longer function as readable works, but the resulting sculptural forms remain emblematic of what is gained in letting go. Through Mon. Feb. 28. Halo Salon, 1919 Third Ave., 206-256-0715. 10 a.m.-7 p.m. Tues.-Fri.; 10 a.m.-4 p.m. Sat. SUZANNE BEAL

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