Martin Creed’s The Back Door has a life of its own. A combination of sculpture, installation and performance art make up the interactive experience housed on the entire first floor of the Armory. Opening and closing curtains and doors, rooms with flickering lights, a slamming piano, and a room half filled with massive balloons create a playful study of scale, size, and the senses. The result is a surreal and almost meditative experience that strips away the unnecessary to reveal human meditations on the structures that shape our lives.
The installation is rather like a whimsical haunted house dedicated to the human experience with everyday tasks. Walking through the grandeur of the Armory, Creed’s installations demand a second look, as they stand out against the historic period rooms of the Armory. He facilitates a meditation on one’s own experience as the surrounding installation unfolds in little moments of activation and incessant sights and sounds. For an added element of live performance, a troupe of five musicians roam the halls playing a soundtrack composed and choreographed by Creed himself.
The Wade Thompson Drill Hall, a massive space reminiscent of 19th Century European train stations, featured nothing but a large screen showing the “open and closing mouth” series set against the silent, dark hall. Each short, slow motion film features a person looking blankly into the camera and opening their mouth to reveal the food they have yet to swallow.
Creed’s installation engages the viewer to reflect on the quirky nature of everyday deeds. By using the Armory’s ornate grandeur as a backdrop for his lively installations, Creed creates an experience which is both playful and contemplative to remind us of the simple pleasures in
Written by Camron intern: Melissa Lawrence
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