This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
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Working with fiber optic cable, photographs, and projectors formed into spider-like sculptures that suspend from the gallery ceiling, Daniel Canogar projects slides onto the dark gallery walls. Fascinated by zero gravity and the experience of weightlessness, Canogar found the fiber optic medium to be perfect for projecting photographic slides of figures and forms that seem to float in a three-dimensional universe while on a two-dimensional wall.
Canogar’s work explores our contemporary journey in search of weightlessness and how our compulsive distancing from Earth has changed us forever. For these installations, he scoured local recycling centers around Pittsburgh to find metallic scrap for the installation. Canogar was drawn to the sculptural quality of the waste and also for its particular significance to Pittsburgh—a monument to the city’s great industrial past.
Canogar’s work reminds us of our place in the larger universe and our responsibility to the planet. The works mean to connect literally and figuratively—engaging these connections through the photographic process. He invited Mattress Factory staff members, their families and friends, and an even larger network of participants—local dancers and acrobats—to be models in a photo shoot, hanging from harnesses.
In the second installation, the work has exploded. The fiber optic cables snake through the floating scrap metal so that projections cast on the wall hit people’s bodies when walking through space. The gravitational pull in the first installation has let loose, and now there is a sense of an expansion of all of this—creating a virtual expansion of the actual room.
Curated by Dara Meyers-Kingsley
Exhibition
Daniel Canoger received his MA from New York University and the International Center for Photography. His work as a visual artist focuses on photography, video, and installation art. Canogar has created numerous public art pieces, including Waves, a permanent sculptural LED screen for the atrium of 2 Houston Center, Houston, TX; Travesías, a sculptural LED screen commissioned for the atrium of the European Union Council in Brussels during the Spanish Presidency of the European Union in 2010; Constelaciones, the largest photo-mosaic in Europe created for two pedestrian bridges over the Manzanares River, in MRío Park, Madrid; and Clandestinos, a video-projection presented on various emblematic monuments including the Arcos de Lapa in Rio de Janeiro, the Puerta de Alcalá in Madrid and the church of San Pietro in Montorio in Rome.
