The second of Peter Greenaway’s live projects onto a facsimile that was produced by Factum Arte. The performance took place in the original location of the great painting by Veronese: the refectory of San Giorgio Maggiore in Venice.
Mustang (moo-stahn), one of the last outposts of Tibetan culture, is so isolated and protected that no Westerner set foot inside its borders for centuries. But in the early 1990s, this untouched society set high in the Himalayas opened its borders for the first time, exposing an ancient world’s dazzling >sacred relics long damaged by the elements and neglect.
I have always been fascinated with the use of antiquated methods or techniques to produce simple but unexpected images. With so much saturated digital imagery, to produce a picture (or in this case an animation) in such a way, changes my relationship to an image that is otherwise easily disposable.
The work was a response to an open submission from NPR for Muybridge-inspired creations in response to the first retrospective of Eadweard Muybridge’s work at the Corcoran Gallery of Art ( >Muybridge: The Man Who Made Pictures Move ).
This sculpture sits in the lobby of an apartment building in San Francisco. Brown created it using small mirrors with reverse cutouts of Muybridge’s iconic galloping horse. Light-emitting diodes aimed at each mirror are quickly flashed, reflecting the image of the horse onto the >frosted glass face of a bell jar and thereby reanimating the horse.