Dead-end Window, 2019, site-specific installation, flour-warehouse by the Old Castle, Corfu, Greece. metal frames, led lights, reflective film, 160X180X175cm.
The window, as a transparent vehicle, is that which admits light into the initial darkness of a place, but which also reserves the space of an inside closure. It is experienced as simultaneously transparent and opaque. If glass admits, it also reflects and as a result, the window is experienced ‘… as a mirror as well as something that freezes and locks the self into the space of its own reduplicated being’, as Rosalind Krauss has written in The Originality of the Avant-Garde and Other Modernist Myths (1985: 16).
The site-specific installation Dead-end Window, 2019, is designed for and situated at the end of a corridor in the old flour-warehouse by the Castle, in Corfu Island. Dead-end Window, 2019, constructed by the most immaterial of media: light, and due to its transparent and reflective surface, proposes a different kind of spatiotemporal experience for the viewer, that excuses Merleau-Ponty’s statement: ‘There is a world for me because I am not unaware of myself; and I am not concealed from myself because I have a world.’. Phenomenology of Perception (2002: 347).