images, born of a seemingly technical experiment in molecular projection,
immediately awakened in me an unexpected sense of the sacred.
concept of the apparition - the epiphany - is joined up with the sacred, the
holy, the divine, it is not unreasonable to think that, when the eye meets the
unexpected visions of the plexiglas plates, you could glimpse (according to
your point of view and the position of the source of light), an epiphany,
drawing attention away from the work’s technical nature and making the sequence
of these virtual objects – the telephone, the tape recorder, the typewriter – a
sort of theory of saints or prophets.
omnipresent circle as well as the circle of light dominating the “thing”, the
object, from above add to it an immaterial nature.
If, on one
hand, the typewriter keyboard or the reels of the old-fashioned video camera
appear as objects vaguely Duchampian, on the other hand, they engage the eye in
a game that liberates the mind. Thus, the ‘Duchampian readymades’, given
substance by the realm of mystical experience, become a true play on prodigy,
the antithesis of readymades.
the virtual object is almost always made complete by a concrete object (a real
receiver alongside a virtual telephone), making it possible to perceive, in the
same place, space and time, the real and
the virtual, technique and mystical experience simultaneously: irreconcilable
worlds that do not create as much
dialogue as friction between each other. The absurdity of this “assemblage” of
disparate and distant impressions intensifies the faculty of vision. So, the
purpose of bringing together these two distinct realities is to obtain a
“spark” and - by depriving us of a system
of reference – to make us feel lost.
visual experiment, it is as if the artist is seeking collaboration outside
herself, in order to move toward to a “new unknown”, giving her study on
molecular projection an extraordinary power of suggestion.
The play on
darkness (the black supporting board), illuminated by a well-orchestrated
source of light, makes the objets
look like mysterious apparitions, a shocking series of contradictory images.
presentation of the holograms seems to verge on the surreal (or
surrealist), this is even more apparent in that “surreality” laboriously
brought forth by Georges Bataille in “Documents” through the coarse
juxtaposition of his photographs (documents, precisely), exposing the
gap between reality and the imaginary, between reality and simulation, thanks
to a short circuit, a paradoxical and unexpected network of relationships that
has led some critics to declare that the rereading of “Documents” may be seen
today as a true key moment in modern thought on images.
This is how
the ephemeral, temporary, provisory character of Dora Tass holographic plates
inspire reflection, not on the “divine” itself, but rather on a new, free way
of thinking about images. In this way, the artist-creator generates works of
consciousness, perhaps uncovering the underlying characteristics in these
objects that would otherwise go overlooked. Just like the poet when he uses a
word in an unconventional way.
extremely mental, analytical and critical quality of her work also distances it
from the “disjointed anatomy” of Bataille’s experiments in images, though, it
does create a similar outcome to some extent.