The labyrinth – as a form and theme – opened up my work. A potent visual form, the labyrinth can generate either constructed rectilinear geometry or organic biomorphic spirals. It has historic, experiential, and mythical dimensions, and since pre-historic times, cultures throughout the world have created these uni-cursal paths out of stone, plants, and wood. As a collage artist working in a range of materials, from detritus to gold leaf, I found inspiration in this history.
Most importantly however, the labyrinth led me to extend and expand my collages – in both scale and theme – beyond the studio and the conventions of the gallery exhibition format into large spaces and public contexts, and thus introduced new experiential forms of interaction, in particular when I install them in unexpected public places, or historical and cultural sites.
In recent site-specific installations of taped labyrinths in New York City, I have been deeply moved by the intensity of visitor participation and interaction. I have installed exhibitions of collages and taped labyrinths in several contexts: my studio, an outdoor public playground, and in a raw space for an art exhibition about immigration. Audiences have been similarly, and literally “moved” by walking the pilgrim’s path through an actual labyrinth.