Cave entrance
from front
Lighthouse top

Cave entrance
with person
Complete view
movie presentation
Lighthouse with
Cave floor
Rear cave wall
Lighthouse ceiling
interior view
Exiting cave view
Lighthouse mural

Lighthouse ceiling
with person

Yellow road
and well
Lighthouse exterior
brail paper

The Yellow Road
Interactive installation, 2004
mixed media, 12x14x12 feet

Detail of

Materials: Wood, wire, brail paper, painting, music, light, plastic. Human-size, functional to enter, approximately 3x3x12 feet.
Upon entering the lighthouse, once one reaches step 3 or 4( of 8 spiral steps, 4 of them being functional) head touches roof. Tilting your head one can see through the hole a painting on the edge of the lighthouse (clown hovering in clouds) and the light moving. With one’s head in an upright position, one can hear a piano tune from inside the structure, through small headphones situated in the 2/4, a piece I wrote and played. The outside skin is brail paper painted glossy white.

Detail of

Materials: Wood, cardboard, light, narcissus flowers. Approximately 4x8x11 ft.
Man-sized functional structure to climb into. Built in a gentle spiral, 6 steps in an off angle (so to loose balance when entering) leads to an end, whereas a hidden narcissus flower plant spreads its scent in an almost complete darkness environment.

Detail of
Materials: Polyurethane, Styrofoam, cement, acrylic. Approximately the well 2.5x1.5 feet, the water 0.2x11 feet.
Placed in front of the lighthouse and cave. The yellow road, the path into the space, is painted on the water.

Detail of
Materials: Chicken wire & papier-mâché. Size varies 5-20 inches.
Hovering in the space between the lighthouse and the cave, the butterflies are attached by armature wire to a structure behind the lighthouse, move to touch.

Detail of
Materials: Sprayed black and pink satin over a wire armature. Approximately 2x2x3 feet.
The Dress sits on a chair in front of the landscape.

n this present installation, I question the nature of man’s perception, physically and psychologically, by exploring the different possibilities of allowing oneself to be corporally engaged in theatrically threatening surroundings. Upon entering the room, one must completely embrace the off-kilter landscape, forced to full awareness of corporeality.

The work plays on the borderline of two and three dimensions, integrating paint with objects and ping-ponging between illusory and physical space handling. The installation confronts the viewer at first glance as a painting in a conventional frame.

The territory depicted is partly assembled from fragmented fables and fantasies, yet holds the domains of doubt and dysfunction beneath its upbeat façade. A reminder of legendary/mythical imagery depicted in saccharine colors, such as the dress and the hovering butterflies, is reminiscent of my previous work in painting.

The viewer can take an active or passive role in this installation. Constantly shifting the scale of objects in relation to one’s body challenges the viewer’s sense of equilibrium, conceptions of previous sculptural conventions and sense of invariable identity. I seek to violate the viewer’s psychological ground. This violation becomes physical, creating, from the moment of first encounter, an impossibility of indifference.