The possibility of spaces with dimensions higher than three was first studied by mathematicians in the nineteenth century. In mathematics the fourth dimension is an abstract concept derived by generalising the rules of three-dimensional space. The fourth dimension in this space was often misinterpreted as 'time'. In the last century however, 'space-time' was developed, which unifies space and time with a different metric so the time dimension is treated differently from the three spatial dimensions.
I don't think I am alone in my fascination with transitions from one kind of reality to another—doorways, paths and ingresses. Within my practice I explore themes of confusion, indefiniteness and the boundaries of instability and displacement. I am interested in slowing down the process of looking—of looking at what's there—and dwelling at length on detail. Accordingly, the works are instilled with an intangible quality that invites endless examination. These visual concerns also correspond with the fluid and elusive qualities of the lenticular medium. The actual blurring, the rendering slightly out-of-focus that the lenticular process achieves, serves to imbue the images with an uncanny unreadability.
Presented in partnership with the Australia Council for the Arts, its arts funding and advisory board, and by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.
Sarah Ryan The Clearing: www.thegreenbox.net/en/books/clearing
Sarah Ryan at Künstlerhaus Bethanien: www.bethanien.de/kb/index/trans/en/page/artist/id/95
Centre for Contemporary Photography
404 George St, Fitzroy Victoria 3065, Australia
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Seven nights after dark