Wiels | EN

The malleability of glass, able to be shaped into any form or size and consisting of varying degrees of hardness, becomes the very essence of its materiality. Glass exists between a state of ‘whole’ and ‘broken’. If 'broken', it renders itself 'useless'. This perceived fragility supersedes a literal interpretation of materiality and extends into the socio-political realms. The act of ‘breaking’ puts one in contention with opposing forces, creating tension between the notions of oppression and liberation. In order to break free from stagnant and retrograde hierarchies, many forms of civil disobedience take shape within the allegory of smashing through glass obstacles, may that be metaphorical ceilings or the destruction of storefront windows. The imagery of broken windows is often construed, erroneously, as a crime. When that happens, broken windows become a signifier for societal decline and decay.

By pairing a custom-made glass-panelled floor that boasts a series of reflective sculptural glass and steel elements, with a low frequency sound score, Blake actively engages with the architecture. She explores how both the space, the installation and its audience might resonate when exposed to the subliminal vibrations of several heavyweight subwoofers. Throughout the span of several weekends, isolated sections from the original version of Crack Nerve Boogie Swerve are performed by a group of dancers, bringing all the different elements of the exhibition into dialogue.

Finally, the audience is invited to interact with the glass installations by walking across the glass floor. The resulting cracks will act as a physical marker of the passage of time and people’s movements throughout the exhibition space. As such, glass, breaking and resonance are not only used metaphorically, but also as a means of communication, collectively creating a new vocabulary of sound and physical expression.