In these works, everyday objects take on uncanny properties, as in Two Holes of Water No. 3, 1966, where suburban station wagons wrapped in plastic become mobile TV and film projectors, or in Prune Flat, 1965, in which a single lightbulb descends from above, its brightness washing out the piece's projected 16 - mm footage and restoring three - dimensionality to the world onstag
In these works, everyday objects take on uncanny properties, as
in Two Holes of Water No. 3, 1966, where suburban station wagons wrapped in plastic become mobile TV and film projectors, or in Prune Flat, 1965, in which a single lightbulb descends from above, its brightness washing out the piece's projected 16 - mm footage and restoring three - dimensionality to the world onstag
in Two Holes of Water No. 3, 1966, where suburban station wagons
wrapped in plastic become mobile TV and film projectors, or in Prune Flat, 1965, in which a single lightbulb descends from above, its brightness washing out the piece's projected 16 - mm footage and restoring three - dimensionality to the world onstag
in plastic become mobile TV and film projectors, or
in Prune Flat, 1965, in which a single lightbulb descends from above, its brightness washing out the piece's projected 16 - mm footage and restoring three - dimensionality to the world onstag
in Prune Flat, 1965,
in which a single lightbulb descends from above, its brightness washing out the piece's projected 16 - mm footage and restoring three - dimensionality to the world onstag
in which a
single lightbulb descends from above, its brightness washing out the
piece's projected 16 - mm footage and restoring three - dimensionality to the world onstage.