Labyrinth: Current Millennium” examines the circular journey of lives, “the thousand natural shocks that flesh is heir to.” It probes at what is not evident; secrets suppressed beneath a placid and engaging surface. The installation is an analogy of the uncertainty of humanity, the farce of us.
Within the Labyrinth of silk organza hang multitudes of bags of human hair, obscuring safe passage. Bare bulbs fade on and off in the organza spirals, intermittently illuminating elements.
Actual whispers —gathered from my website — are heard in the vortex. Secrets in the air, guilty, ashamed, some aggressive. In the depths of the Labyrinth, a security camera peers outward through the layers to capture viewers who seek clarity with their own nature.
The use of age-old materials — hair, silk, thread and encaustic — harks back to the ancients and their myths. Contemporary mediums like audio and security camera conflict with history, not unlike our own journeys.
Labyrinth: Current Millennium essentially poses a final question: Is a single thread strong enough to escape the metaphor of a personal Minotaur?