by Kelsey Zalimeni
An encounter with 'Tomor and Matteo' epitomizes the term phenomenological experience. The digital sculpture installation requires the viewer to be active and aware of their own body in the space. Feuerman's choice to install the piece on the floor hearkens to a similar mechanism made famous by minimalist sculptor Carl Andre, forcing the audience to orient themselves about the piece as it occupies the ground they walk on.
'Tomor and Matteo in the Pool', 2010
Oil on Resin, Video Projection, Ceramic Tile, 120 x 96 inches
This piece was part of Carole's 2010 El Paso Museum retrospective exhibition, aptly titled 'Earth Water Air Fire.' The installation was certainly a highlight of the show, inhabiting its own viewing room complete with a 40-foot high digital projector suspended from the ceiling. The following video features a tour of the El Paso exhibition:
The depicted scene comes from a common, everyday experience, yet there is something ritualistic about the interaction. Perhaps the very nature of sharing (the pool, the beach ball, a glance) causes the piece to shine as sacred. This video below offers a glimpse of the installation in depth.
What do you think of Matteo and Tomor? Share thoughts, comments, and questions for Carole below!