Kyla Gilbert (Montreal, QC)

Plexiglass, Pear, Grapes, Banana, Fake Pear, Fake Grapes, Fake Banana, Chain

 

Sealed off in glass coffins, the fruit are untouchable. The single open face of the box is to the wall. Only Elsewhere can “touch” the fruit. The public may view it but their hands, their breath, can’t come in contact with it. I’m interested in what happens when touch isn’t available. Is it possible to substitute physicality for intimacy with a space? The fruit desires to be freed and touched as much as the viewer desires to bite into the fruit.

But as the fruit transforms in time, it may turn from object of desire to repulsion. This paradox is in dialogue with the plastic fruit, which remain stable if less animate. The plastic fruit begins as cheap replica and becomes a relic of what was and no longer is.

The piece is an interrogation of transformation through time, the ephemerality of desire and the alternative forms of connection.