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  • Good or Evil Shadows

    Audience participatory performance of shadows visible on seven pieces of vellum hanging in the gallery.

  • Good or Evil Shadows

    Audience participatory performance of shadows visible on seven pieces of vellum hanging in the gallery.

  • Good or Evil Shadows

    Audience participatory performance of shadows visible on seven pieces of vellum hanging in the gallery.

  • Painting Wolfmen on the Gallery Wall

    Performance by H7L painting Wolfmen on the walls of the gallery daily.

  • Relaxing and Healing Experience

    Created in the gallery by the soothing sound of seven pieces of moving vellum by a ceiling fan and the audience lying quietly on the floor covered with copies of the front cover of Dan's Paper featuring detail of H7L's Good Against Evil mural.

  • Good or Evil Shadows

    Audience participatory performance of shadows visible on seven pieces of vellum hanging in the gallery.

  • Good or Evil Shadows

    Audience participatory performance of shadows visible on seven pieces of vellum hanging in the gallery.

  • Good or Evil Shadows

    Audience participatory performance of shadows visible on seven pieces of vellum hanging in the gallery.

  • Painting Wolfmen on the Gallery Wall

    Performance by H7L painting Wolfmen on the walls of the gallery daily.

  • Relaxing and Healing Experience

    Created in the gallery by the soothing sound of seven pieces of moving vellum by a ceiling fan and the audience lying quietly on the floor covered with copies of the front cover of Dan's Paper featuring detail of H7L's Good Against Evil mural.

The unifying theme of Good Against Evil derived from Hanne’s "Good Against Evil" wall mural. With its color and whimsy it served not merely to embellish a drab East Village tenement, but its mythical creatures and benign monsters also offered spiritual protection for the tenants against the violence and corruption around them.

After being featured on the cover of the Hamptons' magazine, Dan’s Papers, Hanne indirectly incorporated the mural into the multimedia installation itself by mounting reproductions on wallpaper canvas used to cover the walls and floor of the gallery. This in turn became the canvas for Hanne’s daily Wolfman painting performance; video rushes of this and the many other daily activities of this dynamic installation were also shown in the gallery.

Echoing the images of dragons, unicorns and gargoyles of the mural were the hanging and free-standing sculptures of a fantastical figment born of Hanne’s imagination, the Wolfman, a hybrid creature, part human, part animal, that symbolizes people’s connection to their place in nature, its real and painted shadows emphasizing the duality of the piece. Seven sheets of crackling vellum kept in constant motion by a fan not only supplied the soothing auditory component of the piece, but also served as a backdrop for the ever-changing shadow “drawings” of the hanging sculptures. In the audience-participatory performance Shadows of Good or Evil visitors could act out their own visions of good or evil as shadow puppets against the vellum curtains. A Good Against Evil miniature catalog was produced.(Bo Borre)