ZHULONG GALLERY // DEC12 // 7-9PM

Zhulong Gallery
1302 Dragon Street
Dallas, Texas 75207
zhulonggallery.com
Hours:  Tuesday-Saturday 10:00AM-5:00PM
Also By Appointment
Video and Sculpture by Susan Giles   
Architecture as Interface

ARTIST TALK  6—7pm
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Zhulong Gallery is pleased to announce Architecture as Interface, an exhibition of video and
sculpture by Susan Giles (December 12—January 23). The exhibition will include small and large-
scale sculptural works that reconstruct significant buildings from around the world. Moving
between the miniature and the large-scale, Giles’ two distinct bodies of work point to memory
and spectatorship using architecture as its impetus. At once objects to behold, and in the case of
the large-scale series, Scenic Overlook, tools for viewing, Giles’ recent works articulate the multi-
faceted function of architecture. Taking an additional step in the contemporary context, Giles is
interested in the slippage of these powerful architectural structures into the realm of vernacular
through the rapid transmission of images of and from these buildings online.

Since the medieval period, the tower has operated as a tool providing a view from above. Initially
only for the elite, in the early 19th century this privileged vista was made accessible to a larger
public. In tandem with this development, verticality became associated with ‘progress’ in the
industrialized modern world. Sears tower, the World Trade Center, and more to the point,
architectural structures like the CN Tower in Toronto, and Tokyo Skytree, which were built as a
means for providing extreme views from above, exemplify these architectural races and the
populist shift.

Giles re-fashions and scales these larger than life structures using paper, glue, and wood, often
turning them into amalgams that cement together architectural features from various periods and
geographies. The structures enter a realm of play and become a medium of communication. Giles
communicates what the eye records in the moment she encounters these structures, and the
materials the artist employs, as well as the craft-like technique speak to the fragility of memory,
and the idea of the voyage as a phenomenologic exercise.
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Zizkov Tower and Steeple, 2014