TITLE : Mandalas in series Blue Decline
DATE : 2002
Installation with automation
REALIZATION : artist residency, Cypres, Marseille, exchange with la chambre blanche, Québec
MATERIAL : different bottlles of water, motors, selected object , aluminum, wood, halogen lamp
DIMENSIONS : each object on the wall :100 X 100 X 50 cm - each wall projection : about 7 m X 3,5 m
PHOTO & VIDEO : Diane Landry
VIDEO, Mandala Naya
VIDEO. Mandala Labrador
VIDEO, Mandala Perrier
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- eArts Festival 2008, eLandscapes, Shanghai Science & Technology Museum, Shanghai, China.
- Manif d’Art, the Québec City biennial and the Liverpool Biennial, Novas Contemporary Urban Centre, Liverpool, UK.
- Musée d'art de Joliette (Quebec).
- C'est arrivé près de chez vous. L'art actuel à Québec, Musée national des beaux-arts du Québec, Québec.
- Haunted Screens, UB Art Gallery, Buffalo, NY.
- Espace F, Matane (Quebec).
- FINE|LINE, Kunsthallen Braenderigarden, Viborg, Denmark.
- Francofffonies - Pleine Lune, Théâtre Châtelet, Paris, France.
- Avatar à Vooruit, lors de Courtisane Festival, Vooruit, Gand, Belgium.
- Rice Gallery, Houston, TX.
- Cameron Art Museum, Wilmington, NC.
- Southern Exposure, San Francisco, CA.
- YYZ Artists' Outlet, Toronto (Ontario).
- Miasta stare / Sztuka nowa - Québec / Kraków, Bunkier Sztuki et Inter/Le Lieu, Cracow, Poland.
- Galeire Christiane Chassay, Montreal (Quebec).
- Apocope, Marseille, France.
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Mandala Naya [ 3 different Mandalas are part of Blue Decline installation ] is on view in the small gallery. Deriving from the Sanskrit word for “ circle “, a mandala is an artistic representation of the cosmos, and is used in Eastern religious traditions as a focus for meditation. Using the now-ubiquitous plastic water bottle, Landry's mandalas conjure shadow versions of this spiritual symbol. Each of Landry's mandalas is created from only one kind of bottle, and bears the name of the brand of water it once held, i.e., Mandala Evian. In Mandala Naya, a laundry basket ringed with water bottles is attached to the wall. A tripod, supporting a light attached to a mechanized arm, stands in front of the basket. As the arm moves forward, the light shines through the holes of the basket and through the water bottles, creating a startlingly beautiful shadow that stretches across the wall. This is the reward for watching Mandala Naya for its entire one-minute cycle; just as with traditional mandalas, the time required to experience the work makes it an object of contemplation. (excerpts from the pamphlet : Flying School and Mandala Naya, Rice Gallery, 2005)
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