Rachel Freeman

en cage, cone and elsewhere


micron and prismacolor on vellum, silk screen on transparency film, clear acrylic, wood panel, zinc screws


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Freeman constructed the piece in layers: silkscreened transparency film overlay delicate micron drawings mounted in a frame designed and built by the artist. The title refers to the Chinese lantern plants in the drawings, also nicknamed “l’amour en cage” or “love in cage”.

en cage, cone and elsewhere
depicts time as a form. It is the first piece hung in the relay show BATON.

Rachel Freeman: As someone who barely skimmed by with a “B” in physics, thinking about space and time four-dimensionally makes my head spin. En cage, cone and elsewhere was an attempt to spiritualize the classical Minkowski diagram.

Objects, like you and I, move more through time than space, but massless particles (like light) travel through time and space equally. Which means time and space cancel one another out—making all measurements for massless particles zero, obsolete.. totally meaningless. This concept changes our perception that time and space are absolute.

I dreamt of Chinese lanterns or “l’amour en cage” as a metaphor of the Earth and natural phenomena as a living being, which draws on the understanding of more familiar relationships, “making us see” the relationship between living beings and energy as the relationship between two living entities.