While walking on Bukudal land, on an Arnhem Land beach
where the Sun’s intensity seems amplified, Ferracin became
entranced with the curious symmetry of jutting weathered
Casuarina tree roots and their high-contrast shadows falling
on glaring sands. She spent hours locating and photographing
various examples, noticing the shadows’ slow shape-shifting
as she wandered back and forth.
Living tree roots, life-shaped by environmental vagaries, emerge
from and loop back into white sand, cyclically wet by tidal flows,
parched by evaporation, sculpted by Wind, Rain, Animal. Strong
hot white Light - finally blocked by earthly surfaces after millions
of kilometres of empty space - bounces, reflects, refracts.
Dependently, Shadow appears opposite that stoppage - creeping,
immaterial, essential, distorting, mapping time and terrain.
Defining form by absence of light, Shadow is primordial projection
- our most ancient method of reading Time. We sense Time’s
flow in our bodies, but the shifting form of Shadow is an
external evidence floating in the landscape, available to vision,
thrown riffs on this primordial interplay of form and emptiness
by substituting an original poly-dimensional space with a planar
photographic representation, displayed unconventionally as a
suspended horizontal surface. Selected from many possibilities,
the photo used in thrown exemplifies characteristics of the enso
of Ch’an and Zen buddhism - asymmetry, natural form, subtle
profundity, simplicity, emptiness.
A spotlight - an electronic Sun analogue - beams down from
above, illuminating the evidentiary image and simultaneously
activating a secondary representation system. Multiplying absence,
a primitive presence, Shadow is evoked on the gallery floor.