T=R=A=N=S (plane) by Cerith Wyn Evans
Featuring a circular void cut from a stretched canvas, T=R=A=N=S (plane) by Cerith Wyn Evans directs the subtle play of light and shadow into an immaterial drawing on the wall behind, transforming the two-dimensional plane of a painting into a three-dimensional work, joined in unity and conversation with its setting. Wyn Evans is internationally known for sculptures and installations that use the physical presence of light to investigate the elusive nature of language and perception. He began his career working in film, and the circular cuts recall a camera’s aperture gate, the device which controls the flow of light onto a sensitive surface. The circle is a recurring form in Wyn Evans’ work, universally understood as symbol for totality and the self, but also as a portal and an eye. More specifically, during the production of this work, Wyn Evans referred to the peephole in Marcel Duchamp’s Etant Donné, in Francis Picabia’s Jeune Fille, in Yoko Ono’s A Hole to See The Sky Through and to Lucio Fontana’s Concetto Spaziale series.
Each circular cut is placed in a different area of the canvas, lending a unique aspect to each edition of T=R=A=N=S (plane). A deceptively simple device, the circular void becomes a floating clair-obscur which animates the monochrome work, the perception of which is ever evolving, depending on the position of the viewer.