Horn's art explores concepts of identity (her own and subsequently that of the viewer) and how identity changes with environment and develops over time. I thought that her work at first glance, seemed simple and quick but up close I discovered it is full of paradoxes that invite close inspection and comparison. With time, one notes a comparison of materials and environment, of exterior and interior, and of appearance and identity.
Upon entering the main lobby of the ICA, I encountered "Pink Tons," a 5 ton, pink, glass cast sculpture. This giant pink cube rests quietly in the middle of the lobby floor. Its sides are frosted but its top is clear. The light it traps from the natural day light gives view to the air bubbles, cracks and imperfections within, the result of its cooling process. Like many of Horn's sculptures, Pink Tons seems to glow from within, the effect of which changes with the weather conditions. The staying power of the piece for me, was its contradictions. The sculpture is simultaneously heavy and immovable due to its volume and material but also weightless in its translucent, delicate pink hue. It is at once a concrete, solid cube and an ever-changing liquid.
On the wall behind Pink Tons hangs a series of paired portraits of the artist entitled, "a.k.a." Each photograph was taken at a different stage in Horns life. When read from left to right, the first portrait is of a younger Roni, the second of the pair is of an older Roni. Here I was presented with the theme of change very directly, and was immersed in a game of comparing the artist's physical characteristics, her emotions, and how her personality appeared to develop from picture to picture. In exploring her identity, I found myself actually exploring my own. How have I changed? How have I grown up?
Upstairs in the back hallway of the gallery, facing a full expanse of windows overlooking Boston Harbor, are two rooms full of Horn's photos, drawings, and sculptures. In the first room to the left, I was immediately drawn to what I consider my favorite piece in the show, "Paired Gold Mats, For Ross and Felix." Again, a seemingly simple sculpture in form and material however, executed brilliantly and installed perfectly. Two glinting gold mats rest effortlessly on top of one another upon the gallery floor. Between the two gold leaf sheets the natural light from the hallway windows is captured, harnessed, concentrated, mirrored, and multiplied to produce a warm, brilliant orange glow like burning embers. The precious gold material, is rare and malleable. The surface of the mats ripples like the ocean and changes with the light as the viewer moves around the room. The piece is dedicated to Horn's friends, artist Felix Gonzalez-Torres and his partner Ross Laycock, both of whom died of AIDS. Gold Mats successfully reflects the relationship of two lovers, of companionship, of a pair, of the energy produced by the coupling of two lives being greater than that of those when alone. I stayed with this piece for a while. I had a phenomenological experience, my eyes transfixed on the lively hum of orange spilling out from between the gold. I wanted to touch it. Im sure if I had just held my hand inches above the sculpture I could feel warmth emanating from it.
In the same room, back behind Gold Mats, sits "Ant Farm." The sculpture is literally a very large ant farm and is very appropriate for the show. Again the viewer is presented with an ever-changing world sealed between two elements. Between two sheets of glass, a colony of ants builds their city out of earth. This voyeuristic piece changes with each moment, wether viewed from front or back. Like our own world, it is constantly in a state of flux.
In the neighboring room I found "Opposite of White V.2." It is a glass cast sculpture, in the shape of a disk, rising about 2 feet off of the gallery floor. Again, its sides are frosted, resisting light. But this time its surface is dark and ominous like tar. However, when viewed from an angle, the surface is translucent, and one can see its surface is delicately rippled like the surface of the ocean nearby. The black glass sucks in light and drew me in for further inquiry. I really enjoyed this sculpture and found its subtleties very rewarding.
Roni Horn aka Roni Horn, explores the theme of identity through many different materials and practices. At first glance Horn's art can be read as basic glass sculptures or average portraits. But with time and consideration, often times a change in position or time of day, one will find a wealth of subtleties and contradictions, of visual pleasure and insight and hopefully a better understanding of ones own identity.
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