303 Galleries: Doug Aitken

An artist’s creation must be spellbinding to warrant the amount of space Doug Aitken occupies at the 303 Galleries in Chelsea. Two separate galleries house the multimedia artist’s work. Whatever the medium Aitken’s art explores “constructed landscapes” and subsequently the consequences that follow such development.

Residing in the 22nd street space are thirty scenes formed entirely out of blue geometric shapes. The fragmented paintings guide the viewer through futuristic streets and allies. A glowing ceiling highlights the monochromatic watercolors that line the curved sterile walls. Aitken manipulated the gallery to resemble a spaceship not unlike a set for a science-fiction film. However, the alien interior lends nothing to the watercolors in fact the space outshines the work.

Cityscapes are a theme carried throughout the 22nd Street gallery. As the viewer progresses through the gallery they encounter Star. Aitken continues his homage to urban life with the neon illuminated light box featuring an aerial view of a metropolis lit up like an evergreen tree on Christmas morning. It seems that the artist is commenting on the loneliness of living in a big city. While we are surrounded by people, we rarely know our neighbors or care to meet them. In a city of millions one person is unknown and insignificant.

At the 21st street gallery Aitken’s alluring video installation monopolizes the warehouse space. Rarely seen wildlife star in the triple screened feature dubbed “Migration”. The lined up screens resemble highway billboards or fleeting birds. Close ups of a beaver’s scaly tail and the fully dilated eyes of an owl mesmerize the audience. The cinematography is a cross between a nature program and a psychological thriller.

Set in roadside motels the displaced animals appear lonely. Many Americans suffer similar feelings when visiting the very same locations. These motels are equipped with basic amenities like a shower and bed yet they never feel like home. Likewise the artist tries to make the animals feel at home by playing video of their kin on the television. Scenes of galloping horses for the brown stallion and flocks of migrating birds for the peacocks seem to only confuse the lost animals. However, the bathtub does appear to be an adequate substitute for a dam. The beaver leisurely swims as if unaffected. Other attempts such as the mounted antlers on the wall result in a clearly distressed deer.

The viewer becomes a witness to the animal interacting with their surroundings. Although not overtly conscious raising the piece does make the spectator wonder the affect development has on the natural habitats of animals.