Four Fragments for a Chronology of Chance

Large scale installation constructed using 300 4’x8 sheets of cardboard, 21 doors, 4 windows, 4 plants, linoleum, dimensions variable


C.T. Jasper further explores the ability of architectural fragments to convey cinematic narrative in Four Fragments for a Chronology of Chance.  Much like On Chapels, Caves and Erotic Misery, this large scale installation takes a film for its starting point—in this case Giulio Berruti’s Killer Nun—and the work is also constructed almost entirely from the cheap and ephemeral material of cardboard.  The space he creates with these materials harkens the corridors of the hospital in the film, whitewashed and sterile with an occasional potted plant that seems to highlight the emptiness of the space; the figures from the film have been erased in the space of the installation.  Instead, the viewer navigates corridors lined with doors that do not open, circling from one fragmented space to the next around an unreachable central space encased in windows made from a translucent wax paper.  This installation provides an intervention into the film that draws into question its mechanisms of enduring cinematic power—editing and scene-setting.  It makes these processes become physical as if by placing the viewer inside and outside of the film at the same time.