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Adam Putnam


Andrew Kreps Gallery
525 West 22nd Street, 212-741-8849
November 19 - December 17, 2005
Reception: Saturday, November 19, 6 - 8 PM
Web Site

The image projected is of an empty blue room.

A “magic lantern” that bares a striking resemblance to a chimney or a factory or a furnace.

Built a few feet away is a large pinhole camera slowly taking pictures of the chimney.

The inside of which mirrors the projection of the blue room.

A room taking a picture of itself.

A room getting eclipsed by itself, by its opposite.

The positive to it’s negative, a white gallery eclipsed by a lodge, by a den, an attic eclipsed by a basement, the inside eclipsed by the outside.

Unrealized proposals:

Build a house that is:

  • Structurally unsound and full of hidden implications
  • Innately decrepit like young bodies
  • Confused as to which is the outside and which is the inside
  • Has lots of hallways, stairwells and closets
  • Has a bricked up faÁade reminiscent of factories and Egyptian funereal architecture
  • That would ideally fit on the head of a pin and be comprised of many different rooms, some of which donít have doors or windows, only mirrors, some of which are prone to cave-ins.

I am fascinated by the phenomena of architecture rather than architecture as an object. It is a mode: a framework for imagination and a place where things get hidden away like junk in the basement or secret notes stuffed into the walls.

I am interested in the experience of architecture. The spaces that get depicted become stages. Also the experiences usually lean towards creepy or anxiety ridden. My constant pairing of body and architecture cannot produce anything other than something that is uncanny.

I have come to weave many of these images, spaces and ideas together into a circuitous diagram which links early cinema and photography to video, ruins and empty stages. The empty stage implies an absence of actors, replaced by cinema and projected images. My gradual extraction from my work as a performer has led to a focus on the spaces left behind. Additionally, there is an implication that these interior and exterior spaces are stand-ins for the body so that the experience of “entering” into them becomes sexually or emotionally charged, ominous and inviting at the same time.

(text by Adam Putnam)
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