The video art presented by Janet Echelman in this biennial exhibition were created on the basis of a sculpture project. A video presentation like this, more or less shifts our perception of the character of the artwork of Echelman that is actually a project for the production of a sculpture, and Echelman is well aware of that shift in perception. The choice to present a work in this manner was seriously considered by the artist due to the potential of the character of the idiom of video, which allows for the achievement of the exploration of all points of view in relation to the piece, as well as visual distance and the capability of repetitive presentation of the image. Through the exploration of the idiom of video, the character of the space inherent in the sculpture is conveyed simultaneously. Our view of Echelman's sculpture is seemingly rearranged by Echelman's own personal perceptions of it; but our perception is still free and we can make our own assumptions about it.

When watching this video of Echelman's, it is important to also understand the other sculpture projects that Echelman has undertaken on the past. Echelman's works can be understood to be forms resulting from the latest developments in the art of sculpture. In the history of art in the West, the development of sculpture has been recorded as exhibiting signs of shifts in the principles of creation of art within the influence of the movement of modernism. Within the framework of thinking and the beliefs of modernism, a sculpture can be more expressive of the thinking and purpose of the artist in relationship to narrative tradition that involves the location where the sculpture is placed. The modernist movement perceives the art form of sculpture as important because it presents the sculptural piece as the subject of autonomous creation, as an independent object, a monolith, which can be easily moved from one exhibition site to another.

Counter to the spirit of modernism, Echelman's works show a tendency to return to delving into the relationship of all kinds of narration to the place in which a sculpture is placed, in particular, she seems interested in the architectural problems that can arise. The character of Echelman's works, which are transparent as a result of the form and materials the artist utilizes, connects the form of the work itself integrally to the character of the place in which it is displayed. In this way, Echelman has undertaken the process of "recontextualizing" architectural thinking and the local narration of a structure, as well as the basic and universal principle of the manifestation of beauty, through her art works.

The intertwining of netting in Echelman's works is reminiscent of the relationship between man and nature. The form and function of the net is a human creation reflecting man's desire to be a part of nature through manipulation and exploitation. The manual creation of the form of the net with the help of experts in the production of nets is a strong reminder that the skills and technologies of man are not only basic, but they are also universal.

Certainly, this presentation of Echelman's sculptural work through the medium of video does not fully pinpoint the problems encountered in the construction of the sculpture itself, but, even so, it quite clearly depicts the artistic form of a work that can be defined as a "site specific project".

Rizki A. Zaelani

Lives and works in New York, NY.
Studied at The Graduate School of Arts and Sciences, Lesley College, M.A (1992-96); Harvard University, Cambridge, B.A, Magna Cum Laude with highest honors (1983-87).

SELECTED SOLO EXHIBITIONS
2002+ Public Sculpture for Placa Cidade de Salvador, Porto, Portugal; Permenent sculpture 60 x 80 meters for waterfront redevelopment - Storm King Art Center, Mountainville, New York; Proposed Site-specific sculpture installation - BRAC Centre, Dhaka, Bangladesh; Permanent Commission to suspend from 22 - story headquarters building.
2002 Art Basel Miami Beach, Art Projects, Bass Museum Courtyard, (Florence Lynch Gallery); The Armory Show, Outdoor Installations, Piers 88 and 90, (Florence Lynch Gallery), NY.
2002 "Target swooping down....bullseye! (variation 3)" Florence Lynch Gallery, New York.

SELECTED GROUP EXHIBITIONS
2002 "The Coaster Project, Destination: The World" TransCultural Exchange; Fuller Museum of Art, Brockton, Massachusetts, Florence Lynch Gallery, New York.
2000 "Winner of the Massachusetts Cultural Council Awards" Boston Sculptors; Chapel Gallery, Newton, Massachusetts.

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