Narcissus
Mirror, metal, and concrete
13 x 13 x 8 cm (aprox.)
5 x 5 x 3 in (aprox.)
Edition of 3
New York, July 2015
"In Greek mythology, Narcissus (/nɑrˈsɪsəs/; Greek: Νάρκισσος, Narkissos) was a hunter from Thespiae in Boeotia who was known for his beauty. He was the son of the river god Cephissus and nymph Liriope.[1] He was proud, in that he disdained those who loved him. Nemesis noticed this behavior and attracted Narcissus to a pool, where he saw his own reflection in the water and fell in love with it, not realizing it was merely an image. Unable to leave the beauty of his reflection, Narcissus drowned."
Mirror, metal, and concrete
13 x 13 x 8 cm (aprox.)
5 x 5 x 3 in (aprox.)
Edition of 3
New York, July 2015
"In Greek mythology, Narcissus (/nɑrˈsɪsəs/; Greek: Νάρκισσος, Narkissos) was a hunter from Thespiae in Boeotia who was known for his beauty. He was the son of the river god Cephissus and nymph Liriope.[1] He was proud, in that he disdained those who loved him. Nemesis noticed this behavior and attracted Narcissus to a pool, where he saw his own reflection in the water and fell in love with it, not realizing it was merely an image. Unable to leave the beauty of his reflection, Narcissus drowned."
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.
