Image: Graham Gussin, Dark Corner, 2002. Installed in the exhibition, Le Deuil, IFF, Marseille, 2009.
Contribution to the monograph of Graham Gussin: CLEARBLUESKYDEEPDARKWATER (Santiago de Compostela: Galician Centre for Contemporary Art, 2014)
Dark Corner, 2002
There is something theatrical about Dark Corner. It is theatre, black back-drop paint deployed in a minimal gesture of architectural redaction. Positioned in the upper corner of the room, outside of the normal habitat of that which is to be looked at, it could pass unnoticed. But it doesn't. It is the ocular equivalent of the stone in the shoe, an irritant that assumes a scale greater than its presence. It pulls the gaze upward, tilting the head back in slack-jawed wonderment. Or at least confusion. It appears as a black-hole in the building, contrary to the gallery's blinding whiteness. It is the other absolute: the nothing, the absence, the void. Dark Corner punctures and punctuates the gallery. It seems to suggest an architectural analogy, that the room is the extent of the knowable world, and the darkness, of this apparently truncated corner, is a pernicious reminder that there is always the unknown, and unknowable...