When Love Turns with a Little Indulgence to Indifference or Disgust is a large installation that divides the exhibition space into three rooms, cordoned off by whitewashed walls. This work relates to one of Jasper’s earlier installations, On Chapels, Caves and Erotic Misery, in that both are constructed primarily out of the cheap and ephemeral material of cardboard, and the artist’s careful manipulation of the exhibition space in this work also recalls his re-created partial film set from On Chapels. While reference is not made to a particular film in this installation, its physical elements do establish an abstract narrative informed by the fundamental principles of cinematic set design, lighting, and sound. 

The first room contains just two elements: a brightly lit neon sign just below knee level that reads: DID NOT EXPRESS IT IN KISSING OR TOUCHING OR EVEN HUGGING, and a pinup calendar on the facing wall featuring images of the French actress Catherine Deneuve. The incorporation of a multicolor baseboard running throughout the space acts as a connecting element, a way of tying the rooms together by visual cue. The next room of the installation presents an enigmatic gallery of prints, sculptures, and lights. While the linear arrangement of the frames could be compared to a moving picture, the compositions are not sequentially linked. Instead, recurring aesthetic elements are present throughout the frames, in the use of circles and primary colors, thus creating a narrative of visual language—as if these images are fragments from a bizarre dream. This use of fragmentation is carried on in the third room of the installation, which contains a two-part filmic work and accompanying sound piece. The black and white collage features clips of movie footage, with characters and locations fading in and out of recognition. Its counterpoint is a kaleidoscopic color field that shifts in conjunction with the variations in black and white. 

Each of the three spaces in When Love Turns with a Little Indulgence to Indifference or Disgust contains a distinct setting—with elements rendered in neon, film, metal, or print—that viewers see in sequence as they are guided through a miniature labyrinth. Meant to be experienced in relative solitude (only a limited number of people are allowed in at a time), the multi-part installation contains a series of abstracted or fragmented works that thematically address the influence of architecture, the psychology of fantasy, and the development of narrative. The environment the installation creates is charged with emotion, yet lacks context, and thus challenges the viewer’s sense of reality and traps them in a disorienting realm where personal narrative serves as the binding element.