Tomorrow is the opening of
|in the window, E. Dannielle Slaughter's Fishoil performance installation, a slew of MFA recipients with pizza in their bellies, Jamie Levine's "babies," and Jay Roth's post-apocalyptic sculpture.|
|it started innocently enough, painting the projection after having taped it off on the wall|
|all painted, with the masking tape still on. projected color blocking out the painting|
|removing the tape|
|voila! Easy enough, right?...|
At long last it came to light (pun intended) that really the only one who had a strange, unyielding affinity for the fluorescent lights that were causing all the trouble was Andrew, our director. The rest of us, including the gallery staff, unanimously preferred only the spots. And that would pretty much be the only way to save my work. Thankfully our curator, critic in residence Matthew Nichols, talked some sense into him and the lighting all came together. Next I just had to build yet another pedestal compartment to house all the wires. Time to go home, gather more supplies and anxiously await the next day
I arrived early to build the pedestal. Last day of install, and I'd began calibrating the projection and cleaning up the space big time.
Meanwhile, my MFA cohorts were quite busy as well
|Dana Hemes drilling into the floor for Marta Kepka's saline drip installation|
|John Vigg's drone photography|
|Kevin McCaffrey and Jamie Levine (and the remnants of the show prior)|
Finally, at my wits end, I found the solution to my projection problems. Solely, I think, a result of the prayers of my wife who was receiving my frantic and pessimistic text messages for the past 2 days. Turns out I was using the wrong color setting on the projection all along. "Dynamic", though brighter, did not provide the proper color range. I should have known better, since in all my previous installations I always set it to "sRGB." Sure enough, once I did that and reworked the calibration, it all started falling into place!
Like in other projection negation installations I've done, the lighting fluctuates throughout the day, and it is calibrated to a certain privileged lighting condition (somewhere between 4 and 5 pm on a mostly sunny day in early summer, in this case) in which it most thoroughly grays out. Privileged viewing time = virtually invisible work.
I'll be sending up some similar prayers tonight for Marta's leaky mister (as in that which mists... it's not a euphemism, I swear!) and then it looks like we've got a show on our hands! (knock on wood)