“Up Late,” a two-hour after-dark event from 9 p.m. to 11 p.m., brought together music, immersive theater and installation art to the High Line located in Manhattan’s Far West side last Thursday. Arguably one of the most eye-catching exhibition was New York-based artist Jordan Eagles’ High Line projections.
The mechanics behind the display was simple, requiring only overhead projectors and transparencies. Operating on the principle of which a focusing lens projects light from an illuminated side onto the glass top, the rich hues from the transparencies were superimposed unto the High Line.The allure, however, was not in the sheer magnitude of the installation, but the constant fluidity. If someone happened to stand in front of a projector, a shadow was cast; if someone came across the path of the projected image, his or her face instantly changed into something alien, tribal even.
Indeed, High Line projections extended beyond static frameworks of traditional paintings, Instead, the artwork’s preexisting state of being continue to morph and transform in reaction to the passing of onlookers. Attendees turned from passive lookers to active participants. Our actions, whether we are standing still or moving around, reconstructed the projected millisecond by millisecond.
Eagles’ work was pretty, interactive and selfie-worthy. But what if I were to tell you the transparencies were reprinted from blood? Continue reading