Employing a series of wall projections and floor constructions, Alisha Kerlin creates an installation with a complex, and shifting, narrative structure.
Two young writers put words to her work:
“Together, these objects/images constitute a tonal crossroads in which spectrums of quirkiness and severity, welcomed nostalgia and attempted repression, are exposed and opened up for exploration. From what angle is an event seen and what, from this vantage point, obscures that seeing? The artist asks these questions and more.” -Brett Price
“Kerlin’s temporal shadow thoughts on projections are as if the lady-with-the-big-hat behind you has come into question. She does not carelessly block the light of the projector but instead places her shadows too close to the light, allowing their forms to focus, her thoughts are menaces of disbelief, they are the antiquated dodging and burning tools of chemical photography. Without the jiggle of these sticks to blend, intention is completely revealed. But her orchestration comes from a suitcase of puppetry, one hand controls a conversation while the other hand holds up the stage, humbling one’s intentions, naturalizing it, appropriating it as orbital movement, as by the passing projected image on a wall, the passing woman with a big hat in front of the image, and the dutiful reminder that the puppeteer has two hands and creates ones own conflict.” -Clifford Borress