For more information about these works please see under Essays: Wall Painting.

Installation is a unique form of art, in that it simulates a dialogue with the spectator. Physically, emotionally, and intellectually involved, the viewer entirely shares the experience of the work. The setting encourages exploration and replaces passive contact with the artwork. In “Track Fires”, painting interplays with bas-relief, sculpture mingles with drawing and frames lose their usual function to become unleashed and significant spaces.

Walls actually become props, directly painted upon, while architectural and functional elements are drawn into the work; traditional painting is freed from spatial constrains. Access is firsthand and easily identified, the signs, however, cannot be read independently or separate from one another. Only a global view ensures adequate understanding of the multiple levels of meaning. In the same way, Edelson’s works are related to the position of the spectator, related to the unity which arises from a circuit of images, forms and meanings.

Manon Blanchette, Curator, 1986, Walter Philips Gallery, Banff, Canada.

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