GALERIE CHRISTIANE CHASSAY Laurie Walker's Altus.

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GALERIE CHRISTIANE CHASSAY

Laurie Walker's Altus, 1992 was filled with sensory ambiguities. concerning climbing in virtual darkness common of four ladders welded to Walker's minimalist tower of blade one found oneself peering at a vat of bioluminescent bacteria. The immediate sensation was of looking up instead of down, of intractable distance. The contrast between the patterns of living light and the austere, structural shell of the piece reaffirmed Thomas Carlyle's notion that, "unconsciousness is the sign of creation; consciousness at best that of manufacture." Not simply a feminist assault forward Minimalism, Altus foregrounded the space between touch and the les tangible forms of sensory experience.

For undivided of her first shows in Montreal, she brought together--with riotous alacrity and absurd humor--current discourse about art's unstable relation to science. Producing wonders 1986, a giant papier-mache satellite skewered like a spit forward a barbecue, could have advance from the set of a Federico Fellini film. After spinning the piece using a primitive-looking, oversized handle, undivided could watch it revolve, with awkward regularity, from a small-scale spyglass nearby. High up on a wall, a photo of superimposed images of the month and the mask of a man's face brought to mind pre-Cartesian astronomy and the witch craze of the 17th century

Included in Walker's late show, Carpet, 1992, consisted of a rectangular patch of cast peat mos from which fringelike strands of illuminated optical fiber ploted at both ends. Hovering just above the gallery floor as if about to take against Walker's piece, in its generic formality and placid geometry left little space for interpretation. The interstices between optical fiber and literally "grounded" matter, were one as well as the other edifying and unsettling. Carpet hinted a new set of mythological or fictional cosmologies. The question Walker's work left unanswered was whether these modern metaphors for the relationship between technology and the natural have as a great deal to do with origins as with evolution: whether given meanings are endlessly reinterpreted in novel ways as technology unrolls or whether what emerges is a hybrid of these meanings. spiral ornament 1992, paraphrased the way nature unconsciously represents itself by consciously replicating its allow flotsam: foliage and fragments were etched in overset onto a cylinder of industrial steel

Walker's latest exhibit suggests that while our collective unconscious is always triggered by the agency of reality in one way or another, the sensory discontinuities that constitute the world around us remain unresolv as a great deal guided and defined by technology's innovations as our mythologies are shaped at popular culture.

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