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Jillian Conrad, Flag (detail), 2011, slide projector, opal shards in resin, Plexiglas, wood, brass clamp, dimensions variable.

Jillian Conrad

Devin Borden Gallery

Jillian Conrad, Flag (detail), 2011, slide projector, opal shards in resin, Plexiglas, wood, brass clamp, dimensions variable.

Had Stan Brakhage been a sculptor rather than a filmmaker, he might have made works like Jillian Conrad’s recent projection pieces on view this winter at Devin Borden Gallery. For Brakhage, film was essentially made up of the shadows cast by film stock as it passed in front of a projector’s light. As he described in his “Manifesto” of 1992, “each smudge a filmmaker puts upon filmstrip is interference with the flickering window-of-white.” Film, he declared, “is projective hubris-of-form interruptive of purest incandescence.”

Conrad’s Flag (all works 2011), one of two projection works in “Splits,” a spare four-piece exhibition, was composed of just such disruptions. The first intervention involved bits of opal suspended in a shard of resin that was affixed to a slide and inserted into the empty gate of a projector perched about six inches off the floor. The white light of the projector

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