optical set up in beijing mirrors raindrops with 30,000 reused eyeglass lenses

optical set up now on show in beijing

Caitlind rc Brown and Wayne Garrett created a glasses-font design exhibition constituted of 30,000 titled reused eyeglass lenses ‘And between us, an ocean’, on show at Instances Artwork Museum in Beijing till September 12, 2022 as a part of the exhibition WAVELENGTH: On the Fringe of Senses. Impressed by raindrops public artwork It’s made up of polycarbonate plastic tied with a sinuous thread and shines with white mild, marking the start of the reflection of a waterfall. The optical set up evokes the theme of adjusting views, the idea of reciprocity and the concept of ​​distance.

Coming into the exhibit, the delicate barricades divide the museum area like curtains, gently swaying and permitting viewers to see by the opposite facet as they gaze on the lenses or the areas between the hanging objects. The glass partitions envelop the area and viewers with their undulating visible, and viewers are invited to leisurely wander by the exhibition to expertise the renewed lifetime of the recycling supplies and the intentions that the artists intend to convey.

For And between us, an ocean, Caitlind and Wayne deal with connection and separation. Regardless of 1000’s of prescription lenses, every one was tailor-made to an individual’s explicit eyes. The set up then invitations an examination of the collective imaginative and prescient of society. ‘What faint ghosts are carried by objects so intimate, home windows to the world for one’s viewers? How is our shared actuality formed by so many views from the identical place and time?’ the artists ask. The eyeglass lenses implore viewers to discover the bigger scale of the human expertise and the ability of 1’s need to see the world past its floor, extra clearly and stripped of any prior bias.

optical installation in beijing
photos courtesy of Caitlind RC Brown and Wayne Garrett

30,000 eyeglass lenses reused within the distance

The title of the set up evokes a story about longing throughout distance, because the artists clarify. From a literal perspective, And between us, an ocean it references the bodily and cultural distance between Canada, the house of the artists, and China, the positioning of the exhibition. Two international locations and cultures collide, letting the boundaries of their relationship blur with out hesitation. ‘From a extra metaphysical standpoint, the title evokes the space between us, at all times, from the size of atoms upwards, and our many makes an attempt to transcend this distance seeking nearer relationships, interspace and union’. Caitlin and Wayne clarify.

The artists share that the glasses they wore had been sourced by manufacturing facility defects in Beijing and unusable glasses from the Canadian Lions Eyeglass Recycling Heart in Calgary. That they had collected round 10,000 items in Canada and 20,000 in Beijing. On account of journey and COVID restrictions, the duo had been unable to journey to Beijing to assist with the set up. As an alternative, they developed the exhibition piece from a distance, echoing one of many total themes of the piece that’s about distance. They created the plans and prototypes and would ship them to Liya Liu and Yuqi Wei of PIKOU, the group that organized the WAVELENGTH: On the Fringe of Senses exhibition on the Instances Artwork Museum.

optical installation in beijing
shut view of optical facility in beijing

Creating and putting in remotely

As a staff, everybody concerned in bringing the venture to fruition examined set up strategies, priorities, and methodologies by video calls and between the artists’ studio in Calgary and the PIKOU staff’s workspace in Beijing. One other staff in Beijing labored to put in the eyeglass lenses on two towering curtains contained in the museum, the completion of the method. Concerning the supplies used, Caitlind and Wayne consider that discovered and used eyeglass lenses carry with them the burden of their historical past by scratches, adhesive tapes and free hinges.

“As artists, now we have typically used mass-produced objects as a reference to cities as an immeasurable mass of supplies, individuals, conditions and tensions. There’s a highly effective relationship between objects and the individuals who use them, a reciprocity of kind and performance,’ Caitlind and Wayne share. Whether or not mountains of discarded objects are thought-about hyperobjects or strata within the Anthropocene, the artists remind viewers that these accumulations of on a regular basis objects evoke one thing each private and interpersonal.

optical installation in beijing
the optical set up in beijing is titled ‘and between us, an ocean’

optical installation in beijing
optical set up in beijing seems to be like raindrops from close to and much

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