New York-based artist Sarah Oppenheimer’s work is both beautifully deceptive and brilliantly revealing. With her spatial interventions, she creates immersive optical illusion-like phenomena by cutting areas out of walls, using mirrors to offer vantage points into adjacent spaces, and illuminating those spaces with tones of light. Her works disorient the viewer, creating mental wormholes that derail spatial instincts, and pointing to the ways in which architecture organizes our understanding of the world. The construction of these works is so elegant that it rejects the notion of having been handmade. Produced primarily from metal and glass, the installations resemble transcendent tears in reality. The artist’s process is also extremely involved. Oppenheimer, who received her MFA from Yale University, is interested in solving theoretical problems regarding how humans experience space. She also works extensively with architectural rendering software, miniature 3-D models, and diagrams, much like a scientist experimenting in a lab. The remnants of this process form an array of fascinating ephemera, which is now on view for the first time at the Mills College Art Museum (5000 MacArthur Blvd., Oakland) in the show Sarah Oppenheimer. The presentation of the models and renderings was painstakingly designed by the artist to form a particularly engaging viewing experience in the museum’s large, open gallery — one that will leave audiences questioning the conventions of their surroundings.
An attempt by Sheldon B. Smith and Lisa Wymore at making a never-ending dance. This two-channel video work utilizes 250 separate video clips of short movement statements inspired by folk dances, edited together by custom software in a manner that implies continuity.