Opening Reception: Visual Orchestrations

The Fort Point Arts Community invites you to the opening reception of "Visual Orchestrations" at the Assemblage Art Space!

The Event

FPAC invites you to the opening reception for Visual Orchestrations, a show by Mary Sherman in collaboration with sound artist Florian Grond and composer Matheiu Corajod. The event will start at 6pm and end at 9pm. Refreshments will also be served and alcohol for those who are of age.

Mary Sherman will present two, multi-sensory installations, Delay and Black Box, each of which is a collaboration with another artist, Florian Grond and Mathieu Corajod. Both works offer poetic explorations of visual imagery in time and space, combining kinetic and performative elements with sound and light to captivate her audiences.

The reception will include two performances of both pieces by the artist, accompanied by Florian Grond. The first performance will start at 6:00pm; the second at 7:30pm. An additional performance of Sherman’s Eri, After Dark, a collaboration with the composer Benoit Granier, South African artist Sonya Rademeyer and others, TBA

Though this is a free event, registration is encouraged.

About the Show

For the Assemblage’s Visual Orchestrations, Mary Sherman will present two, multi-sensory installations, Delay and Black Box, each of which is a collaboration with another artist, Florian Grond and Mathieu Corajod. Both works offer poetic explorations of visual imagery in time and space, combining kinetic and performative elements with sound and light to captivate her audiences.

Sherman is best known for her striking pieces that feature fine art materials, hand-made mechanics and digital coding to investigate the enigmatic and elusive machinations of sensory perception. She experiments with sounds and visuals, amplifying and triggering haptic parallels between the eye and ear to draw attention to life’s constant flux of sensory impressions hovering just beyond our consciousness. The results are works that defy categorization, appearing in concert halls, exhibition spaces, and theatrical environments.

For Delay, the artist provocatively asks the question, “What if You Could Hear a Painting?” and persuasively demonstrates that you can. This time-based installation’s focal point is one of Sherman’s thick, impasto paintings, which was subjected to medical scanning and the acoustic artist Florian Grond’s use of granular synthesis to translate the painting’s tactile incidents into sound.

Afterwards, spot lit and standing alone in the room, the scanned painting attracts viewers but, once they come close, a sensor triggers a plate that blocks their view. Only seconds later is a portion of the painting revealed – heard through surround-sound speakers and seen behind tiny, slowly moving shutters that, in effect, stretch out the viewing process. The eye – visual art’s sensory darling – is no longer privileged. Its aural soundscape and textural counterpoints underscore the natural interplay of the senses, reveling in an alluring, endless tease.

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