The Cabinet of Imagined Mirrors
The slightest emotion is all it takes so that everything having been kept hidden will burst forth
(Pierre Nicole, 1625–95)
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Digital collage of the Cabinet imagined in the Sir John Soane Museum, London
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The Cabinet of Imagined Mirrors’ (2003) is an octagonal room (3. m dia., each panel H2.4m, W1.2m) whose walls are covered in a soft reflective surface produced by polishing powdered graphite and wax directly onto panels. In its first manifestation, a gilt-edged convex mirror stood in the centre of a temporary pale blue floor; the ceiling was draped in black muslin, through which could be seen a small ornate chandelier. It was influenced by seventeenth-century mirrored rooms created for pleasure and conversation, and Francesco de Medici's study in Florence, referred to as a ‘cage of imagined mirrors’.
This space was originally intended to enable solitary contemplation. It was built during the 2003 Brighton Fringe Festival, as part of the inaugural public residency Watch this Space, at the Phoenix Gallery Brighton, It was later shown lit by candlelight, during the Liverpool Biennial Independents (2006). Although this is a three-dimensional construction, this piece acts as a surround drawing and is connected to an earlier series of 'mirror' works using graphite, wax, and plaster. It has not been viewed since 2006 and is really still a work in progress. There is potential for it to be placed in an historic setting and for the outside to be further developed.
This space was originally intended to enable solitary contemplation. It was built during the 2003 Brighton Fringe Festival, as part of the inaugural public residency Watch this Space, at the Phoenix Gallery Brighton, It was later shown lit by candlelight, during the Liverpool Biennial Independents (2006). Although this is a three-dimensional construction, this piece acts as a surround drawing and is connected to an earlier series of 'mirror' works using graphite, wax, and plaster. It has not been viewed since 2006 and is really still a work in progress. There is potential for it to be placed in an historic setting and for the outside to be further developed.
Some Public Responses to ‘The Cabinet of Imagined Mirrors’
“My first impulse was to want to shut the door and enjoy being enclosed. Once this was done the surfaces gained more depth and I also became reflected. The surface was seductive – desiring. Not sure if its needs much more than one ornate mirror on the opposite wall. The quality of the graphite seems enough. A definite quality of entering a separate space. Not sure whether a chair is good idea or not (one that swivels?). The outside maybe needs to be enticing and can become as much the work as the inside (dialogue between the two?). It could go both ways to incorporate more of an environment or become a space apart. At the moment an element of austerity but could go full on gorgeous! A place of desire. Would love to see it operating in its own space.”
“ I found myself experimenting with it to see how much I could see – whether some bits were more reflective than others. This part of it is a big part of the work I think – what people do in there. They are relieved of the pressure to have to be aware of their own presence (as they’d have to be if the surface was more reflective). It’s private so the only record of what was seen in there is what the person tells or writes down here. It’s almost the opposite of what’s going on in ‘Watch this Space”, where the artists are perpetually being seen.”