A space within the ICA, separated from the rest of the building by being about half a meter lower – accessible by one set of steps (and a small lift for wheelchairs) but not completely escaping its feel as a through room as the public who bypass walk along the raised side only separated by a railing. It’s a gallery space so it’s white. So is the ceiling, which is made of large white muted lights and separated by large metal beams forming a grid like pattern. It’s easy to forget that you are in fact in a classical building. There are windows though Jacob Kassay has covered them in a very large blank canvas that takes up the entire space of the outside wall. Four more of these ‘canvases’ create a space with in this space and cradle a few more canvases accept these ones are cleverly covered in an enchanting film of silver. Enchanting because they capture light and reflections so beautifully…so gracefully. Enchanting because of their value.
While in discussion in this space we observe the entire room from afar and then the perfect imperfections in these silver canvases. However, the giant blank canvases on which these silver ones are hung, though intriguing at first, don’t seem all that necessary and just draw our attention away from being lost in a sea of silver to analyse the space…. I’d rather be in the sea of silver. All this chat only to conclude with an amazing interest into their worth – both intrinsically and that through popularity. When selling at figures like $86,500 a piece, for an artist who’s only in his twenties, it’s hard to see past it.
The artist wants us to not just see his work but see the space, the world in which it’s lives, the world in which we live. I saw the world and I would rather be looking at painting/sculpture/instillation. So Jacob, drop the blank canvases, stick to the silver ones. Let us escape.
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