• |INFINITE SPACE| Kickstarter Rewards

    |INFINITE SPACE| Kickstarter Rewards
  • | INFINITE SPACE | Deinstallation Timelapse by Paul Raposo

  • | INFINITE SPACE |

    | INFINITE SPACE |
  • |INFINITE SPACE| Project Description by Heather L. Castro


    If the forms of art and architecture describe our culture’s current worldview, then James Weingrod’s latest project lies within the recent acceptance of science into popular understanding. Between the millennium’s embracing of chaos theory and the Butterfly Effect to the CBS production of “The Big Bang Theory,” science and its theories have never been so mainstream.

    However, this exposure should only alert us to an audience’s point of view. Artists, such as Weingrod, have incorporated scientific theory and writings into their work dating back to the development of perspective in the Renaissance. To present a work such as |INFINITE SPACE| then, today, is as much about audience reception as it is artistic inception. Science and art collide in the Granoff Center Project, to the infinite broadening of the viewer’s conception of space and form.

    |INFINITE SPACE| is a monochromatic vinyl installation that stretches over five thousand square feet, spanning the walls, ceiling, floors and stairwell of the Center. Its abstracted imagery is a manipulation of highlighted negative space present in urban drawings by the artist. Through highlighting the spaces within objects and warping them into “non-earthly” forms, reminiscent of deep space and the deep sea, Weingrod presents a sublime conception of the infinite. To confine infinity within an architectural space reveals architecture’s limitations: within the language of the universe, confined space is nonexistent. |INFINITE SPACE| “eats” the visual space, much like a black hole, by enfolding the viewer into the negative imagery on display. Upon being confronted with an overwhelming unknown, the viewer is awed, both positively and negatively, at the language of the universe.

    In viewing, reading and acknowledging that language, the students, staff, faculty and visitors at the Granoff Center will see the active results of an interdisciplinary model for art: just as the architecture disappears, so does the binary between art and science. This void leaves the door open for Weingrod’s ultimate subject: infinite possibilities.

    Heather L. Castro
    Tyler School of Art, Temple University