The Only Thing That's the End of the World is the End of the World, 2023
Shattered mirror, light coordinated music, LED lights, mirror, motors
Approximately 14ft x 50ft x 50ft
Shattered mirror, light coordinated music, LED lights, mirror, motors
Approximately 14ft x 50ft x 50ft
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Video of Installation
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Still Images
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Documentation Credit: W. Gavin Robb
Exhibition Statement:
The Only Thing That’s the End of the World is the End of the World is a collaborative visual arts project that integrates installation art, music, and performance through the creation of an immersive sound and light-based kinetic installation sculpture. This artwork is created in direct response to the current society-level emotional trauma being experienced worldwide brought about by the Covid-19 pandemic, intense political polarization, systemic racism, and xenophobia. The installation is designed to challenge the viewer’s notions of the physical parameters of the space the artwork inhabits, while simultaneously creating an environment that heightens their emotional connection to it. The fluctuating illumination choreographed to the music will continually re-author the physical architecture of the space.
Music is the soul of this installation, and I am privileged to collaborate with the internationally acclaimed composer, Sam Wu. His music transcends both western and Chinese stylistic boundaries to create complex, hauntingly beautiful, instrumental compositions. Emerging from the shadows of the darkened gallery space, the harmonies of Wu’s compositions create an environment of complete sonic immersion.
The Only Thing that’s the End of the World is the End of the World rages against the notions of tribalism, nihilism, and racism. It fights bluntness with complexity, xenophobia with collaboration, and anger with splendor. It is both monument and protest, heavy yet ephemeral, loud yet elusive. Like humanity, this piece can be both beautiful and elegant, but also physically dangerous and imposing. At times it will be so dazzling that it will be hard to look at, while at others it will practically disappear into the darkness. This piece is not beautiful for beauty’s sake, nor is it for entertainment. Rather, it will utilize beauty to create an emotional phenomenon that permeates the core of the viewer. This installation is the most ambitious project of my career and represents a decade of research within my own artistic practice. I can think of no better venue to premier it than at the place I first fell in love with the arts, my alma mater, Moravian University.
The Only Thing That’s the End of the World is the End of the World is a collaborative visual arts project that integrates installation art, music, and performance through the creation of an immersive sound and light-based kinetic installation sculpture. This artwork is created in direct response to the current society-level emotional trauma being experienced worldwide brought about by the Covid-19 pandemic, intense political polarization, systemic racism, and xenophobia. The installation is designed to challenge the viewer’s notions of the physical parameters of the space the artwork inhabits, while simultaneously creating an environment that heightens their emotional connection to it. The fluctuating illumination choreographed to the music will continually re-author the physical architecture of the space.
Music is the soul of this installation, and I am privileged to collaborate with the internationally acclaimed composer, Sam Wu. His music transcends both western and Chinese stylistic boundaries to create complex, hauntingly beautiful, instrumental compositions. Emerging from the shadows of the darkened gallery space, the harmonies of Wu’s compositions create an environment of complete sonic immersion.
The Only Thing that’s the End of the World is the End of the World rages against the notions of tribalism, nihilism, and racism. It fights bluntness with complexity, xenophobia with collaboration, and anger with splendor. It is both monument and protest, heavy yet ephemeral, loud yet elusive. Like humanity, this piece can be both beautiful and elegant, but also physically dangerous and imposing. At times it will be so dazzling that it will be hard to look at, while at others it will practically disappear into the darkness. This piece is not beautiful for beauty’s sake, nor is it for entertainment. Rather, it will utilize beauty to create an emotional phenomenon that permeates the core of the viewer. This installation is the most ambitious project of my career and represents a decade of research within my own artistic practice. I can think of no better venue to premier it than at the place I first fell in love with the arts, my alma mater, Moravian University.