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|page de-threaded. I can imagine all those Derridans getting a chuckle out of Glatt’s approach
of deconstructing the book. Eventually the books were displayed along the brick wall on Barry Whistler’
s long white table. The act of pulling the threads also applied to a series of square textiles
in frames in the same room as the books. Visually these four pieces told a story about Glatt’s
process. You could tell there was a system involved that allowed her to find her stopping points.
For me, pulling thread would be an enjoyable pastime, but I would never end up with an
interesting product. Where I would fail, Glatt accomplishes not only sublime, quite minimal
images, but also she manages to create in her work a simple narrative. With my Western
tendencies, I read these works right to left which leads to a path of destruction. With a
title like De-construct, she intends for you to read it this way. Glatt’s objects move from a
simple cross shape in the first work to various rectangles that could be a white painting
by Piet Mondrian in the last piece.
|In the main gallery, Glatt has created a large work that uses two pieces of paper sewn together,
which creates a seam right down the middle of her work. Glatt said she wanted to work with
this paper, but she could not find the size she needed. So, this is not an arbitrary seam, but
rather a way to solve her problem while still maintaining the conceptual ideas of sewn line.
This work is populated by small little thread knots. Because this was just the installation phase
of the show, I was able to see a bit of the process left unseen during the show. Like in the work
titled Nature’s Morse, you see the dots run down the paper in an orderly straight line to form
|Linnea Glatt and the Barry Whistler Gallery have had plenty of time to make adjustments to the
show that opens September 14th this Saturday, so I am looking forward to seeing the changes
and I am also excited to talk with Glatt about her final choices for the installation.