November 2017: Erek Nass

In Blog By by Regina Zehner On March 21, 2018


Erek Nass, Descent installation view



Descent, by Erek Nass is an installation of light and protracted sound that activates space, process and the experience. The installation projects video footage onto water vapor that is contained the clear walls of a doorframe-like wooden structure that sits in the front of the gallery. The frame is accompanied by soundscape created by the artist that uses a recording of Vivaldi’s “Four Seasons,” played underwater and slowed.


Descent distorts images through the use of the space. Video is projected through water vapor, which abstracts the images and gives them an amount of dimensionality. The video itself consists of footage recorded underwater, that begins and ends with the camera being placed in and pulled out of the water, respectively. The footage is mirrored and therefore abstracted. At times, certain clues give away the setting, towards the end, you might make out a tree-lined shore, and a people walking across sand. Mostly, the image is an undulating blue-white form, reminiscent of water but open to interpretation. The vapor’s haze gives density to an otherwise weightless object. As well, the installation provides sound that transforms the space to expansive environment where all senses are activated. An oceanic smell fills the gallery and the vapor contained within the frame swells and dissipates.




Erek Nass, Descent installation view



Process is another base structure incorporated in the show that is integral to how the installation operates. The labor required in coordinating the small set outside, the vapor and the projection itself requires an intimate knowledge of the required time and materials. The idea of process is presented in by bodily concepts of  cycle and renewal. As one begins to sit and be with the work, the show enlightens an appreciation to a labor that is not necessarily on the work, but rather, in the work. It can be seen through the thoughtful way the installation was created and how the audience interacts with the piece. Nass’s careful curation and neutralization of the objects within the gallery allows them to be received under multiple pretenses, making a space that is not confined by one simple interpretation.


Descent infuses viewers with a feeling that grows on you after departing. The show is more than the ephemeral experience inside the gallery; it is the thought behind the structure, the minimal layout and in the show’s own objects. There are hints of personal influences and references that intersect with technology: through the video, through the artist’s intention and his exploration that manages to expand the viewer’s consideration into their own perception of invention.