While in 1999, the date on which it was conceived Culture Shadows, it had already made enough art instalations using the shadow as the main resource of interactive mediation, there was still room for reflection on the meaning of framing a picture and frame ourselves within this personal and not transferable space.
In a city where the shadow is the only spontaneous pattern that can be legally drawn on walls, this ends up becoming a precarious refuge to which, as we walk, we often turn our gaze to harbor deep thoughts. Culture Shadows (CS) makes use of this well of wishes and ideas that may already overflowing, for inviting us to share such introspective expression, so it can be inhabited by others.
Upon entering the darkened room, a projection on the floor recreates what appears to be our shadow but reversed, a shadow of light attached to our feet, through whose profile we glimpse some moving images. Almost immediately we’ll begin to move around the room and use the shadow as a peephole.
