Artist in Residence 2018: Elias Popa Part 2

June 4, 2018

In creating “Reckoning and Attaining,” the minimalist form of the installation is impregnated with mystery through its interaction with natural elements. The form itself is camouflaged in its environment. Mirrored on all sides, it reflects its outer environment thus rendering it as a part of the scape surrounding it. The light that passes through the opening creates a corridor of light, gently beckoning one to enter through its awkward, tight opening. It is through this uncomfortable space that the transformation is set: the questioning of Job via the terror and mystery of God leading to the reward of the endless universe and all that is in it. This sculpture leans on the irony that restriction of elements, body, and matter actually free our minds and souls to deep understanding and relationship, and thus a peaceful space.

Although I’ve had a good amount of time to reflect on the purpose of a sculpture as an installation artist, it can be difficult to sometimes realize the physical manifestation of the things I dream of.

In preparing for this project, I built a model to test the light and shadow as it cuts through the openings of the sculpture and into the centre of it. It wasn’t until I saw this materialized model that I felt a certain excitement begin to swell up within me. The tactile model allowed me to understand better the play of light through the narrow opening in the side, and the thin strip of light passing through shadow. I imagined myself curious to walk through.

Although the scripture in Job I selected is complex, grand, and even terrible in its depiction of the mysteries and power of God, my particular focus is towards the small, sweet, whisper that comes after the sacrifice of one’s life. It is like a narrow gate—a tight opening.

Currently, I have selected materials such as the frame and turf that will be used to create the field. I have already employed one builder to assist me in building the sculpture. I am sourcing the mirrors from a construction supply company that works in large scale wall installations. My hope and prayer is that there is a venue in Hell’s Kitchen who will approve the building of the sculpture on their roof.

In the next two weeks, I hope we will have a secured space allowing building to start in about two months. Build time is expected take roughly one week.

As always, when embarking on installation projects, the vision at the beginning changes as needs and hurdles come up. For example, in the original computer rendering, the entrance to the sculpture wrapped around one wall to create a thin corridor. In creating the material model, however, I found that keeping one wall slightly shorter created a simpler design that was more intuitive to enter.