Hydraphilia

Gail Wight

Before attending Wight’s exhibition, I had a predisposed concept that I would be viewing photographs or some sort of still art.  I was surprised to walk into a pitch black installation room to see a video installation.  In retrospect, there is no other choice to show the exotic work of Wight; however, I am pleased that I was unprepared because the surprise was far more pleasant than perhaps my expectations would have been.

The dark, humidified room set the perfect tone to sit back and witness 9 screens working as one video, as separate videos, and sometimes, as videos mirroring one another.  Some images glimmered while others pulsated in deep hues, persisting in their transformations.  Almost as if watching fireworks in slow motion, vibrant oranges and blood reds sparkled, illuminating bright flakes of gold.  With branch like limbs, there were moments of tree-esque imagery that altered in shape and color as though experiencing the seasons.  At other moments, the imagery seemed grotesque and mocking as though it was my own internal body that preceded my own intelligence.  And then, quite unexpectedly, the imagery would turn magical.  Gorgeous blue elucidated the negative space as Van-Gogh’s “Almond Blossoms” came to life in all of its glory.  Sparkling like precious gems, the vibrant imagery was meditative and inspiring.  Finding peace, the imagery would again transform in a seamless yet shocking manner.  Clouds indicating an explosion would appear complimented by oozing lava-like forms.  As the image swelled and developed my conscious was forced to reinvent my association with the imagery: sexual pulses, nuclear explosions, Mickey Mouse ears, commits in outer space, and the goo from Ghost Busters.

The time-lapse videos of Wight were stunning, contemplative, seducing and fantastical.  Her show title, meaning “many headed” and referring to the Greek myth of a 9 headed monster who grew back 2 heads when one was lopped off, was simultaneously beautiful and morbid echoing Wight’s intention.  Slime mold will forever be more endearing that before my encounter; however, it is Wight’s artwork and insight that are truly commending.