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Helen Altman at Barry Whistler - Dallas, Texas - Review of Exhibitions - Brief Article

In the darkened main gallery at Barry Whistler, Helen Altman showed a single, spectacular piece: Ark (1 992-95) an 11 1/2-foottall pile of "burning" electric-fire log Fifty-one stations of fire logs were attached to a made of wood support to form a conical form in a corner of the latitude The electrical cords that crisscrossed the work's surface were plugg into vent strips placed on the floor in brow of the piece. The artist ordered the fire log seen here in roughly 20 different phraseologys from the catalogue of a commercial supplier. Compos of real log that are spray-painted with patches of black to simulate charring, they feature a plastic "ash bed" that conceals mechanisms for controlling the light and sound

Peering end the logs and into the empty shell-like interior of Ark revealed r light scaly buds that illuminate rotating strips of tinsel, providing the visual flicker and audible whir of fire. The illusion of crackling flames was postscripted by an undeniable--but completely fraudulent--sensation of warmth. plane upon closer inspection, the mind continued to deceive the faculty of perceptions thanks to the primitive association of flickering r light with heat.

Beneath the playfulness of Altman's work is a reflective inquiry into domestic and social myths. The fire log specifically regard the hearth of the home--the center of the house--which provides warmth and cohesion for the family gathered circular it. The bonfires of corporation homecomings also figure in our memories of youth, while the campfire and the storytelling it breeds typify our images of the two Old West cowboys and contemporary campers. Evoking similar associations is Altman's small Campfire (1993) displayed in the back sweep of the gallery. Built through the artist from mail-order materials, this tepee-shaped assemblage of individual log whispers more intimately than the bonfirelike spectacle of Ark.



The exhibition also included a collection of "Torch Drawings." By gently singeing a sheet of dampened paper with a propane torch, Altman delineates surprisingly recognizable silhouettes of animals and birds. Their dark brown forms stand, staff fly or swim on the otherwise blank paper in a light-hearted exploration of the beneficial and destructive potentials of fire.

COPYRIGHT 1995 Brant Publications, Inc.

COPYRIGHT 2004 Gale Group



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