• Willie Doherty

    Matt's Gallery

    It is dark by the door. You can hear sounds of an urban environment, but see nothing. Cautious movement—a familiar shuffle through darkness with arms outstretched—reveals that the space contains two large screens. You have entered the gallery behind the first; the second gradually comes into view beyond. Large, freestanding constructions, they cut across the room at an oblique angle.

    Though parallel, the screens do not face one another directly. Instead, they are shifted so that the optimum position for viewing either projection is alongside, rather than in front of the other. It is extremely

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