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Christopher Blay: Microaudiotellarevolution: From the PRC to the TRC
Gallery 414
414 Templeton, Fort Worth
(817) 556-6595 www.gallery414.org
Gallery 414
414 Templeton, Fort Worth
(817) 556-6595 www.gallery414.org
Christopher Blay: Microaudiotellarevolution: From the PRC to the TRC
Artist Christopher Blay took on the topical and touchy subject of war in his latest show, one of audacious title, Microaudiotellarevolution: From the PRC to the TRC, and ambitious scope.
Mr. Blay's installation occupied three small rooms of Gallery 414, transforming the space from benign bungalow to an eerie, otherworldly landscape. Low light and ambient sound contributed to the prevailing feeling of unease. It is in this environment where he has chosen to, according to his artist's statement, exhibit eight installation works based on his "recollections, dreams and fantasies" about the 1980 coup in Liberia.
In The Trial of Charles Taylor (2009), Blay asserts his strongest argument against strife. From twelve tape decks hanging on the wall, a collective collage of voices alternately offered an endless narrative loop. The words "Your honor" are repeated to great extent; with further review, it is realized this is Mr. Blay himself revisiting history by reading aloud the transcripts of Charles G. Taylor, who stood trial in The Hague for war crimes. An adjacent wall featured what can only be described as a gaggle of gas masks representing people; in front of them were microphones poised in midair. The third wall was a splay of old-fashioned headphones in a multicolored arrangement. The alcove in which this piece was displayed worked to good effect, creating a sense of doom and claustrophobia.
Other works in this installation featured more old-school elements, quite literally, such as Mr. Blay's frequent use of the overhead projector. Tellarevolution A, Tellarevolution B and Tellarevolution C are microfiche assemblages where the artist has placed items on the projector's screen to keen effect. In the gallery's back room, PRC Shanty occupies more space, but its overall effect is diluted --- it was too dark to make out many of the GI Joe-esque images.
Clearly, Mr. Blay is a thoughtful artist. He began his career as a photographer --- even working in the photo department of the Fort Worth Star-Telegram --- but in recent years, has been drawn to installation work because it offers a greater platform for communication.
"I tried to look at how photography could become transcendent," Mr. Blay said. "And it was a foregone conclusion that [the image on paper] takes a subservient role."
Mr. Blay's latest output is testament to the powers of installation work.
Mr. Blay's installation occupied three small rooms of Gallery 414, transforming the space from benign bungalow to an eerie, otherworldly landscape. Low light and ambient sound contributed to the prevailing feeling of unease. It is in this environment where he has chosen to, according to his artist's statement, exhibit eight installation works based on his "recollections, dreams and fantasies" about the 1980 coup in Liberia.
In The Trial of Charles Taylor (2009), Blay asserts his strongest argument against strife. From twelve tape decks hanging on the wall, a collective collage of voices alternately offered an endless narrative loop. The words "Your honor" are repeated to great extent; with further review, it is realized this is Mr. Blay himself revisiting history by reading aloud the transcripts of Charles G. Taylor, who stood trial in The Hague for war crimes. An adjacent wall featured what can only be described as a gaggle of gas masks representing people; in front of them were microphones poised in midair. The third wall was a splay of old-fashioned headphones in a multicolored arrangement. The alcove in which this piece was displayed worked to good effect, creating a sense of doom and claustrophobia.
Other works in this installation featured more old-school elements, quite literally, such as Mr. Blay's frequent use of the overhead projector. Tellarevolution A, Tellarevolution B and Tellarevolution C are microfiche assemblages where the artist has placed items on the projector's screen to keen effect. In the gallery's back room, PRC Shanty occupies more space, but its overall effect is diluted --- it was too dark to make out many of the GI Joe-esque images.
Clearly, Mr. Blay is a thoughtful artist. He began his career as a photographer --- even working in the photo department of the Fort Worth Star-Telegram --- but in recent years, has been drawn to installation work because it offers a greater platform for communication.
"I tried to look at how photography could become transcendent," Mr. Blay said. "And it was a foregone conclusion that [the image on paper] takes a subservient role."
Mr. Blay's latest output is testament to the powers of installation work.