published on 10/05/06

Double Entente multi-media exhibit on display in Palmer

Anita Varma Editor in Chief

Double Entente, local artist Monica d. Church’s multi-media installation at the James W. Palmer Gallery, consists of five pieces that address fear and denial in American society as related to the threat of avian flu.

“I believe that our reactions to threats in the world are often not balanced or well-informed,” said Church. “This is disturbing to me.”

Church noted that the pieces in the exhibit are not meant to be presented in any specific order. If viewed clockwise from the door, the first piece is called “For the Good of All, Do not Destroy the Birds.” The piece casts a double shadow on the wall behind it. Church said that the shadows symbolize “absence, loss, [and] forewarning.”

The title piece of the installation, “Double Entente I-XII,” is a comment on the World Health Organization’s suggestion during the height of the avian flu threat that people abandon handshakes and affectionate physical contact in favor of bumping elbows, since this would be a more sanitary practice (collegerelations.vassar.edu/2006/2263). The 12 pieces progress from showing a torso and arm to only showing either a bent elbow or a sliver of an arm nearly pushed off the page.

The effect of the installation is curious, since the “Double Entente I-XII” pieces do not evoke fear or a sense of losing physical contact. Instead, each “Double Entente” component is smooth and brightly lit, with no sharp angles as the bent elbows are rounded and the precise circles of color appear unflawed. A closer examination, however, reveals that there are cracks in the center of each circle. These cracks cue the viewer for “The Silent Spaces,” which makes use of broken eggshells.

Before “Silent Spaces,” the installation shifts to “Washing and Wishing,” which is comprised of five suitcases, a block of Ivory soap, and a set of polished and neatly arranged wishbones. This part of Church’s installation evokes the mixed feelings of fascination and fear that Americans experience with everyday items, particularly in the context of the avian flu. The wishbones have presumably been scrubbed clean of disease with the Ivory soap.

“The suitcases suggest travel and nostalgia for travel,” explained Church. “Close contact with chickens is the only way for humans currently to become infected with the avian flu. If [it] passes from human to human, the real danger of it spreading worldwide is by travel, not migratory birds.”

Finally, “Silent Spaces” concludes the installation in two parts. First, there are a series of chicken and robin eggshells jutting out of the white wall.

According to Church, the structure of this part of the installation was meant to make the viewer think of doorknobs—and the possible dangers that lie on a doorknob in terms of disease (collegerelations.vassar.edu/2006/2263). Church’s installation does not seem to be fueled by alarmist tendencies, however, and instead makes comments on a culture of fear and the messages conveyed to the public about possible threats.

Ironically, the final part of “Silent Spaces” breaks the silence of the other pieces. “Silent Spaces.” contains the only explicit voices of individuals in the installation.

Framing more “doorknob eggs” are three threads with plastic circles attached. The plastic circles contain black typewritten text, including quotes from government officials about the avian flu threat. For example, one circle reads, “There is ‘absolutely no danger in eating poultry and eggs,’ President Jacques Chirac said, eating a chicken dish to press the point.”

Another plastic circle relates to Church’s “bumping elbows” interest in “Double Entente I-XII.” This circle has a comment from Dr. McNeil Jr., as quoted in The New York Times: “The bump, a simple touching of elbows, is a substitute for the filthy practice of shaking hands…” McNeil’s clinical quote is juxtaposed against the sensual depiction of limbs in “Double Entente I-XII,” which captures the persistent presence of the body, despite being reduced to elbows.

The installation is set up with ample space between each of the five pieces, so each seems to stand alone, with subtle visual elements to link them to form a cohesive installation.

Looking ahead, Church has plans for another installation project which will address literacy. “Specifically, [it will focus on] the number of words poor children verses middle class children hear by the age of four,” said Church. “I would also like to develop a community-based project that results in an installation that explores rust as a metaphor for place/memory or peace.”

Double Entente will remain at the Palmer Gallery until Oct. 14.