New York

Gwenn Thomas

Grace Borgenicht Gallery

Like a good linguist, Gwenn Thomas explores both the diachronic and the synchronic in her framed Cibachromes. One might also say that her works push us through time and space, at high velocity, to a point of relativity. Note how the exaggerated corridor perspective in Theater of Memory I, 1984–85, where the converging lines of ceiling and floor extend out onto the frame with paint, is tilted, as if we were swept off our feet in a wind tunnel. The effect of speed is heightened, as when a section of this same wall appears to curve in Untitled (Diptych), 1984–86, and so is the hallucinatory. These are like stills from the part of the film where the hero suffers the results of a Mickey Finn.

The simultaneity, or pentimento, of the peeling and cracking surfaces of these photographed rooms—in an old industrial, commercial, or institutional building—works against a suggestion of development from

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