Facade from the street.
Nearly impenetrable. Metal covers.
New windows, of the most generic kind, held in tension across the house (a domestic space turned out gallery), the glazing partially revealed given an unfinished yet slightly transparent interior view dependent on position and light via time of day.
Peeping Tom. Heightened sense, as a viewer, of doing something wrong.
Cf. reserve Ames. Control entire space and limit interior access. But this time, the interior is revealed as what it's expected to be.
The way the glass covering is peeled allows easy viewer access, which is to say eye level.
A commercial space held at bay, which is to suggest inability to function, abandonment but it really.
Rather, displaced in a gallery as home, a sense of playful, like a fort.
Issues of accessibility and tension were in play here just as with the recent Kassay installation at Reserve Ames (see here). What was unexpected about my viewing tour around the perimeter was my heightened sense of being in terms of daytime window-peeping and notions of trespassing. I like how transitory spaces (contrived or not) can produce such issues surrounding boundaries and thresholds. These were not spaces to be occupied.