Daniel Steegmann Mangrané, Fog Dog

The experience of the room, which should be lit entirely by natural light, is fundamentally altered by the juxtaposition of these two elements.

The light entering the space through the ceiling opening changes according to the time of the day, yet also retains the geometric shape.

Daniel Steegmann Mangrané has covered the floor of the gallery with gravel and buried speakers underneath.

The speakers, invisible to the spectator, occasionally emit the sounds of animal and human movement from different directions, startling the visitor and creating the impression of being surrounded, perhaps hunted, by unseen occupants. 

A second rectangular construction in the back of the gallery opens into an adjoining room, funnelling the light to create a diffuse brightness, apparition-like.

The light intervention is created by a rectangular construction built out from the wall with a rectangular opening at its apex.

Funnelling the light to create a diffuse brightness, the effect can be quite startling, as the illumination emanating from the opening, made diffuse by a filter, can nonetheless be quite focused. 

Presented in the exhibition, Orange Oranges is a metal structure framing panels of orange photographic filter in variable dimensions. Its roof and walls consist of orange photographic filter. Inside, accessible to the public, there are several stools, a table, glasses, knives, mechanical juicers, fresh oranges and a bucket to dispose of the rinds.

Viewers can enter the cabin, squeeze a juice and drink while watching everything around them dyed in deep orange.

For the spectator who is outside of the cabin, people inside seem to be part of the work, while for the viewers inside everything that surrounds them may appear distant as well.

Because of the physiological effects on human vision, viewers leaving the cabin will perceive the outside dyed in a bright electric blue. This effect is stronger the more time is spent inside the cabin.

Multiple prepared, mostly organic objects are placed on a table. Among them small split twigs, dried fruits with simple geometric patterns carded in their rind, and small wooden and glass objects.

The artist has also made small constructions from organic material, imagining man-made natural elements. These assemblages are at times so believable that one wonders what tree, bush or flower may have produced them.