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Visual artists have often noticed that realism and abstraction in art can be summarized in the distance and perspective that we take when we contemplate a work. A realistic work examined closely reveals underlying abstract composition. Indeed, if you look to the details of a painting, or if one wonders about the technique of execution, we see quickly that the illusion is an abstract representation that the viewer mentally rebuilt.

The project Micro>macro examines this paradox in art: to show what is not seen.

The project Micro>macro began in earnest on Monday of the month of September 2006, when the artists Paul Walty, Denis Leclerc and Joseph Muscat met at the Labo of the Distillery District. The first working session began with an exploration of the history site of the Distillery and by collecting visual samples with the traditional technique of rubbing and capturing  images with digital cameras. This conceptual approach will become the cornerstone of the Micro>macro project.

These outdoor working sessions have created nine monumental rubbings, and more than five hours of video capture.

Padejo hired filmmaker Alex Loukos for making the video portion of the installation and musician Alan Bloor to create the sound environment. The 16-minute film consists of five two-minute episodes interspersed with short breaks. The soundtrack is made up of by the rubbing of metal objects.

The space of the installation was not easy to configure. How to create an enclosed space in an open area that asks the viewer to appreciate both the works that require lighting and listen to a video projection that requires the dark? For hanging large panels Padejo used a telescopic pole system installed along a spiral path, closing the space at both ends. A white sign installed in the center served as a rear projection screen.

Click here to see video part of the multi media installation.
Part 1.  | Part 2.