Julia Fish

partial overview: gallery floor, completed project; in the center section, a second numerical "counting" sequence began towards the center

detail from gallery entrance at upper right: light-color, die-cut laminate covered the given six-tile florets, by subtraction, to count as 1, then 2 tiles; below, dark-color laminate additions to each floret accumulated to count as 9, then 10 tiles

detail: light-color and dark-color laminate over tile florets; one of the original, unaltered florets lower left

detail: counting sequence - dark-color, die-cut laminate accumulated around the given florets, one tile at a time

detail: counting sequence - dark-color, die-cut laminate accumulated around the given florets, three tiles at a time

left: gallery / office, light-color laminate over florets; partial view, Study for floor [ floret ] # 5

right: detail - Study for floor [ floret ] # 5, hand-stamped ink / unique image on laser-printed vellum

left: gallery / office: gradual transition from front gallery's dark-color laminate, to light-color laminate over six tile florets

right: view of Ten in One Gallery and floor [ floret ] from CTA Blue-line Elevated train station, Damen and North Avenue

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floor [floret]

Ten in One Gallery
Chicago
September 12 – October 10, 1998

floor [floret] developed concurrently with the first Entry paintings, 1997-1998; I employed the language of painting to reconfigure and thus redirect the perceptual experience of the street-level, storefront space.

In the front gallery, the original laid tile “floret” pattern served as the basis for a three-part, numerically sequenced intervention: dark-colored, die-cut vinyl adhered precisely to the tile, adding to, and accumulating around, each floret cluster. The counting sequences generated from three directions at the perimeter, progressively enlarging toward the center of the gallery, disrupting the regular grid. By contrast, the application of the vinyl material in the office area was light in value and covered the floret, which then appeared as an after-image. The project is best described as visualization by substitution — a speculative gesture in collaboration with the rigorous, measured floret grid.