Daphnes Eyes
Metal and mirrors
183 x 183 x 183 cm (approx.)
72 x 72 x 72 in (approx.)
Edition of 3
Toronto, 2016
Installed facing the Ontario lake, at the Drake Devonshire Hotel - PrinceEdward County. Under the invitation of curator Mia Nielsen, and with the helpof programming assistant Ashley Mulvihill.The title of the piece pays homage to Bernini's sculpture: "Apollo and Daphne", finished in 1625. That refers to the moment when the sun godtouches the nymphs' skin, after chasing her incessantly. She then prays toher father - Peneus, a river god, to transform her:
'Destroy the beauty that has injured me, or change the body that destroysmy life.' Before her prayer was ended, torpor seized on all her body, and athin bark closed around her gentle bosom, and her hair became as movingleaves; her arms were changed to waving branches, and her active feet asclinging roots were fastened to the ground—her face was hidden withencircling leaves.
Metal and mirrors
183 x 183 x 183 cm (approx.)
72 x 72 x 72 in (approx.)
Edition of 3
Toronto, 2016
Installed facing the Ontario lake, at the Drake Devonshire Hotel - PrinceEdward County. Under the invitation of curator Mia Nielsen, and with the helpof programming assistant Ashley Mulvihill.The title of the piece pays homage to Bernini's sculpture: "Apollo and Daphne", finished in 1625. That refers to the moment when the sun godtouches the nymphs' skin, after chasing her incessantly. She then prays toher father - Peneus, a river god, to transform her:
'Destroy the beauty that has injured me, or change the body that destroysmy life.' Before her prayer was ended, torpor seized on all her body, and athin bark closed around her gentle bosom, and her hair became as movingleaves; her arms were changed to waving branches, and her active feet asclinging roots were fastened to the ground—her face was hidden withencircling leaves.
Measure of Dispersion (2014-ongoing) is a series of sculptural installations that aim to amplify and manipulate the spectator’s field of vision. Made from concave and convex mirrors of many sizes that Prado attaches to industrial metal structures, the sculptures create something akin to an anti-camera that reconfigures the viewer’s vantage point and amplifies notions of (dis)location.
Rather than capturing a specific moment like a camera, the mirrors reflect a fragmented body seen from uncontrollable angles and different points in space simultaneously. The resulting viewer experience is a challenge to the impulse to project preconceived assumptions onto what we see: we are made to test our sense of familiarity with our surroundings and, more importantly, with ourselves.
Rather than capturing a specific moment like a camera, the mirrors reflect a fragmented body seen from uncontrollable angles and different points in space simultaneously. The resulting viewer experience is a challenge to the impulse to project preconceived assumptions onto what we see: we are made to test our sense of familiarity with our surroundings and, more importantly, with ourselves.
