Casilda Sánchez’s best-known digital-video installation, As Inside as the Eye Can See, 2009, pictures two eyes with long lashes approaching each other in extreme close-up. This confrontation between anatomies brings to mind the physical and social collisions of body art, but it also reads as a pun on Clement Greenberg’s celebration of painting as an appeal to “eyesight alone.” Sánchez’s first solo exhibition, mounted at Aspect Ratio, continued to play with conventions of vision and picturing that have been historically linked to painting, but were here approached through the material conditions of the moving image.
For the exhibition’s centerpiece, Winter Landscape, 2013, rather than projecting video onto painted canvas, as artists such as Donald Moffett and Albert Oehlen have done, Sánchez references painting obliquely by rear-projecting a hazy, sepia-filtered long shot of Brooklyn’s
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