Jack Hanley 2005

Camilla d'Errico's 'Jack Hanley' compels us to consider how elementary forms—lines, planes, colors—interact to create perceptual experiences. Three striped rectangular forms descend in space, each block presenting alternating black and white bands that vibrate with optical tension. Their stark geometry cuts through the air, challenging conventional notions of sculpture as solid mass. Instead, d'Errico offers a composition of voids and solids, lines and intervals. The red rhomboid shapes in the background create a further dynamic compositional contrast. This work may be viewed through the lens of structuralism, where underlying systems of relationships are as important as the objects themselves. Here, the binary opposition of black and white isn’t merely decorative but fundamental to how we perceive depth, dimension, and spatial relations. The artist destabilizes our expectations, urging us to decode the syntax of visual language. Note how the serial repetition of stripes against the gallery’s white void asks us to consider how an artwork's meaning is contingent upon its environment. This installation serves as a constant reminder that art is less about static objects and more about the dynamic interplay of perception, space, and thought.