Littoral 2014

Video projection onto Olefin paper strips, rotating fan, variable dimensions, National Art School, Sydney. Photo credit: Peter Morgan.

The photograph is a simple one. It is taken from inside the kitchen, looking out the door, which is open to a gust of wind that blows through the multicoloured hanging strands of the walk-through strip blind. The tangle of lines momentarily ruptures the membrane between inside and outside. Littoral restages this moment at a bodily scale: a faintly coloured film of churning white water is projected onto floor-to-ceiling white strips hanging a few feet out from the gallery wall. An electric fan, positioned between these surfaces, turns so that the image ruptures before the fan continues its arc and the strips settle once again. The simple mechanics of the piece — the fan, the strips — are revealed, but the image, which projects cleanly onto the wall behind, remains unbroken; if anything, its affect is deepened. The word littoral refers to the intertidal zone: the space between the water’s highest and lowest point. Following Kreckler’s broader project, however, the term is best understood as a space between representation and reality, or as the point where an action is held just before resolution, when the outcome remains uncertain. In this, it provides his work with a succinct conceptual frame.

Quentin Sprague, Untitled Moment from ‘Accident&Process’ 2015, pp. 14-29, ed Talia Linz and  Hannah Mathews, Perimeter Editions, Melbourne 2015,