Briana McCarthy

Reflecting on Where We're Calling From

Entering the Copeland gallery was like walking into a well lit cave: tall, cement walls lit by large skylights. The quality of the light was quiet and clear; light filtering in from above, the hung works cast long shadows across the cool cement that angled toward the floor. Because of this, I preferred the show during the day, when the light felt sacred. Displaying a small painted object and a sculpture, the angle of light suited my works quite well, extending the pieces across the vast wall. My work is very intimate, so the quality of light created an atmosphere that suited it.

My initial reaction upon seeing the work installed was slight disappointment. The ceilings were high and there was a lot of large work, so mine felt a little hidden: dwarfed. It helped that the pieces were by a doorway that led to the dark audio visual display space. That space to one side helped my work be seen and provided a more intimate corner. There was also a curtain that was pulled over the doorway, to separate the spaces and keep the light from the dark space, but I think I would have enjoyed the location better without the curtain. Visitors saw my work passing from my room to the next, but it seemed to be passed by when people entered from the opposite direction; they were trying to get out of the doorway and the narrow aisle created by floor based sculptures in the room.

The work that inhabited the room alongside mine felt appropriate. There was a focus on the body and internal world. There was also a peachy, creamy color story that ran through much of the work. It was a cohesive space and, I think, being in a smaller side room, instead of the large central room, also worked toward providing the intimacy I feel my work needs. If a visitor was pulled across the room by a piece, it was a shorter journey back to the other works in the room.

Overall, I think my work was in a space that made sense, but I may not have placed it there myself. The room the work was in had white walls, and I have found I am more drawn to the concrete as a backdrop. The light was lovely during the day, though I would have loved to keep the lights off and let the natural light play with my work, something that will definitely inform future exhibitions and lighting for me. The words quiet, intimate, and sacred are recurrent in my description of the ideal space, which certainly makes sense in regards to my themes. Moving forward, creating an atmosphere for viewing the work feels as important as the work itself.