A concrete basin rests on the floor to the right of Window: partially filled with water, Well marks the only instance in which the missing element central to Walking the Sea is physically present. The reflective surface of the still water recalls the mirrors at the beginning of the exhibition and conjures the myth of Narcissus as an originary allegory. It again reiterates the triangulated shape that is repeated throughout the installation. By placing Well and Window side by side, Ginzburg offers the two classic Humanist conceptions of painting: as a window onto the world and as a mirror of the world that offers its true (then understood as mimetic) reflection. While inherently self-reflective, Ginzburg’s project rejects mimesis in favor of metaphor expressed in aesthetically related, but otherwise self-contained, heterogeneous objects arranged along a prescribed path.
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