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Irina Jasnowski Pascual’s show “Plane Volume” follows the rules of the optical into real and imagined inside spaces. Inside spaces such as the sparkling, spheric volume inside a fountain bubble, just maxing out on its uplift in midair, right before the collapse. Or the inside of a bronze sculpture, for example: some abstract, tunnelling interiority, whose outsides gives shape to the legend of St. Martin sword dividing his long, heavily draped overcoat to share it with the freezing poor.
But the artist seems to have decided against the clandestine and the darkness that is inherent to these internal spaces. She turns up transparency by the see through handling of see through material that traditionally asks for outsourced manufacturing and silicone caked bonding for years to come. Instead the material is artistically swept towards the edge of a precarious production that offers a tipsy, momentary balance where her findings are neither stash no…
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Irina Jasnowski Pascual’s show “Plane Volume” follows the rules of the optical into real and imagined inside spaces. Inside spaces such as the sparkling, spheric volume inside a fountain bubble, just maxing out on its uplift in midair, right before the collapse. Or the inside of a bronze sculpture, for example: some abstract, tunnelling interiority, whose outsides gives shape to the legend of St. Martin sword dividing his long, heavily draped overcoat to share it with the freezing poor.
But the artist seems to have decided against the clandestine and the darkness that is inherent to these internal spaces. She turns up transparency by the see through handling of see through material that traditionally asks for outsourced manufacturing and silicone caked bonding for years to come. Instead the material is artistically swept towards the edge of a precarious production that offers a tipsy, momentary balance where her findings are neither stash no…
