In Liquid Crystals, Betty expresses her fascination with crystals and their use in technology. It has three levels. The landing point is breathtaking and magnificent: a vast field of color that spreads to the horizon. On a black platform are two small spheres. Sitting on them brings you down into a large cylinder where you float within Betty's bright colors. Standing up from there, you tumble down to the base of the cylinder, where you walk amid cubical and conical crystals, some in a pile in the middle.
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Betty Tureaud, Liquid Crystals
In contrast to Betty's highly abstract piece, Trill's Apocalypse is concrete and narrative. There's been a run of apocalyptic work lately (including, at Split Screen alone, shellina Winkler's Apocalypse 2012 and Alizarin Goldflake's Acquarella: After the Apocalypse). Trill's installation is unusual for its optimism. We see the destruction, but also reconstruction. The installation is designed to lead us along a path through ruins occupied by ghosts and rats, and still crumbling around us. However, many of the walls have graffiti (among them, images by Hieronymus Bosch), a few with clues to the background to the disaster. Eventually the path takes us to a paddleboat, the beginning of the salvaging of materials. The boat brings us to an oil rig that has been wholly re-purposed, and now boasts a garden, chairs and lamps made from various types of detritus, and a small house powered by a wind turbine.
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Trill Zapatero, The Apocalypse Will Not Be Televised
Showing June only, so go see them!
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