Eva Petrič: The Shadow – jumping, moving, tricking…
(on the walls of the St. Cyril's Hall, New York, June 1, 2007)
In the beginning there was…
a black tone
jumping moving tricking,
slick and sly
in all-ways adjustable
with temper and textures smells syllables sounds and voices
zig zag zaging
in rhythm to the tic tac tacing
appearing disappearing then again reappearing
in arms hands fingers
curving tightening extending circling encircling
inside a game, a loving game
with verbs with symbols, elegant double binds and centuries,
a unique map
to once upon a times nows and forever afters
my feet – too small to run away from u-
I'll know if you are hiding,
stay with me shelter me
without make-up without perfume
are you my shadow?
where is my shadow?
share with me
share with me
share with me…
To reach the end of the road
we need the same light.
For me, my work is about finding a balance, the space within the defined and the undefined, the obvious and the hidden, the body and its shadow. I exploit the light outside the dark room to free the body from its shadow and I use the light inside the dark room to free the shadow from its body… Out from the dark comes a unique piece, a shadow with a life and reality of its own.
The shadow has always fascinated me. It is repeatedly tricky, always in all-ways adjustable, changeable, disappearing yet always reappearing, It is the part of the everyday that is often taken for granted and thus quickly overlooked. However, the power of the shadow is great: it encompasses in itself everything that exists. Every being and every object has its own shadow. We exist in particular bodies, yet we belong to the community of shadows.
I see the shadow thus as the collective – the visual collective unconscious. This is probably why I gather so much from exploring the relationship with my shadow. It reveals to me the visual esthetics that guides my work. For me, the body itself is too sincere in conveying the passing of time on itself – thus it is much easier to watch its shadow that is immune to the passing of time and to find the esthetics in it.
Yet I want to show as well the body confronting its shadow – the tension arising from its confrontation with the shadow, in other words, with itself – its unknown part. Upon confrontation I believe there must be an explosion – a seeing of more reality then was once believed to exist.
(Solo exhibition at St. Cyril's Hall, 62 St. Mark's Place, New York, NY 1003, June 1 – June 15, 2007)