Entrance Installation

Researching relations between sculptural practice as intervention and the experience of interior public space, this work asks how can certain changes in generic public architectures either alter or reveal the psychology of their experience and function? The work was commissioned by the Sydney Biennale and such a question intersects with its themes of rationality and emotional intelligence.
Eskdale altered the AGNSW entrance cloakroom and vestibule through insertions of hand-sewn partitioning and cladding that affected perception of space and paths into the main halls of the gallery. A crafted sense of the artist's touch permeated and re-delineated the space, questioning the primacy of vision as a way of knowing.
The project develops upon the metaphor of 'phantom architectures' framed by Elisabeth Bronfen (2001), 'Chryptopias: Secret Sites/ Transmissible Traces,' Gregor Schneider: Totes Haus Ur, La Biennale di Venezia in conjunction with concepts of built space and identity collected in Sarah Menin ed. (2003), Constructing Place: Mind and Matter. There are links here with Schneider's (2001) Venice Biennale work, 'Totes haus u r', as well as in the use of montaged institutional space and constructed veneer in the work of Ann Hamilton, 1993, 'a round', The Power Plant Contemporary Art Gallery, Toronto, 1993.
"No one can say that I feel, therefore I am. The project invites the audience to participate in an aesthetic experience using not only their sight, but also all the senses provoking active participation and inciting the emotions. The audience will be challenged to think and feel," (international curator, Isabel Carlos, Gallery Notes).
51 artists from 32 countries included Jimmy Durham, Bruce Nauman, Nathan Coley, Pat Brassington, Susan Norrie and Daniel Von Sturmer.
The artist was included in a DVD of collected interviews. She presented a lecture on her work at a related education forum. Review: M Desmond, Art Monthly no 172 Aug04 p20.

本研究以作为介入性实践的雕塑创作与室内公共空间体验之间的关联为核心议题，探讨通用公共建筑的特定改造举措，究竟能够如何改变或揭示其使用体验与功能背后的心理逻辑。该作品由悉尼双年展（Sydney Biennale）委托创作，其所探讨的核心问题亦与本届双年展的理性与情绪智力主题高度契合。艺术家埃斯代尔（Eskdale）通过手工缝制的隔断与饰面，对新南威尔士美术馆（Art Gallery of New South Wales，简称AGNSW）入口处的衣帽间与前厅进行了改造，此举重塑了观众对空间格局以及通往美术馆主展厅动线的感知。艺术家亲手营造的触感特质渗透并重新界定了整个空间，对视觉作为认知首要途径的核心地位提出了质疑。本项目借鉴了伊丽莎白·布罗芬（Elisabeth Bronfen）2001年发表于《Chryptopias: Secret Sites/ Transmissible Traces》一文提出的‘幻影建筑’隐喻，结合格雷戈尔·施奈德（Gregor Schneider）的《Totes Haus Ur》与威尼斯双年展（La Biennale di Venezia）的相关创作理念，并参考了萨拉·梅宁（Sarah Menin）2003年主编的《Constructing Place: Mind and Matter》中收录的建筑空间与身份认同相关理论。本项目与施奈德2001年威尼斯双年展作品《Totes haus u r》存在创作关联，同时也借鉴了安·汉密尔顿（Ann Hamilton）1993年于多伦多动力工厂当代美术馆（The Power Plant Contemporary Art Gallery, Toronto）展出的作品《a round》中，对机构空间拼贴与人工饰面的运用手法。国际策展人伊莎贝尔·卡洛斯（Isabel Carlos）在《Gallery Notes》中写道："无人能断言‘我感故我在’。本项目邀请观众参与一场兼具多感官维度的审美体验——不仅动用视觉感知，更调动全部感官，以此激发主动参与与情绪共鸣，促使观众在思考与感知间建立联结。"本次展览共收录来自32个国家的51位艺术家的作品，其中包括吉米·达勒姆（Jimmy Durham）、布鲁斯·诺曼（Bruce Nauman）、内森·科利（Nathan Coley）、帕特·布拉辛顿（Pat Brassington）、苏珊·诺里（Susan Norrie）与丹尼尔·冯·施图默（Daniel Von Sturmer）。该艺术家的相关访谈被收录于专题DVD之中，并在配套教育论坛中发表了关于其创作的专题讲座。评论文章：M·德斯蒙德（M Desmond），《Art Monthly》第172期，2004年8月，第20页。