Michael Snow

Driven II, 1985

© Michael Snow • Photo: Denis Farley

Michael Snow, Driven II, © Michael Snow • Photo: Denis Farley
Artist
Michael Snow
Title
Driven II
Dimensions and medium
Transmission hologram and colour photography on painted wood panel, white light, 317.5 × 152.4 × 198.1 cm (dimensions of the installation)
Artwork description
Michael Snow’s holographic installation, Driven II, was initially conceived as part of an environment titled The Spectral Image, presented at Expo ’86 in Vancouver. Located in a former locomotive repair hangar called the Round House, the installation included approximately fifteen sculptural works with holographic components, and gave a brief history of transportation and communication systems. Driven II depicts a blue painted car door with a holographic image of a driver whose elbow extends toward the viewer. The work offers a visual reflection on pictorial and sculptural space, on the fusion of the real with the illusion of three-dimensionality through the impalpable matter of light, and the particular relationship that holography creates between the viewer and the image.

See Also

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The Sleepers, 1992, 7 metal barrels, 7 black and white video monitors, 7 videos, and 385 gallons of water, 1/2.
Bill Viola, The Sleepers, 1992 The Sleepers, 1992, 7 metal barrels, 7 black and white video monitors, 7 videos, and 385 gallons of water, 1/2.
still of Exiles of the Shattered Star, 2006, HD video, colour, loop, sound, 29 min 51 s, 5/5.
Kelly Richardson, Exiles of the Shattered Star, 2006 still of Exiles of the Shattered Star, 2006, HD video, colour, loop, sound, 29 min 51 s, 5/5.
Dervish, 1993-1995, Wood, aluminum, mirrors, strobe light, motor, 2 video projectors, 2 loudspeakers, computer, electronic controls, software, and videodiscs, 2/2.
Gary Hill, Dervish, 1993-1995 Dervish, 1993-1995, Wood, aluminum, mirrors, strobe light, motor, 2 video projectors, 2 loudspeakers, computer, electronic controls, software, and videodiscs, 2/2.
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Charles Sandison, 1911, 2006 1911, 2006, Computer data projected on a flat screen, 3/5.
still of Remarques sur les couleurs (version française de « Remarks on Color, 1994 »), 1994-1998, Color video, projector, amplified sound system, 49 min, A.P. 1/1.
Gary Hill, Remarques sur les couleurs (version française de « Remarks on Color, 1994 »), 1994-1998 still of Remarques sur les couleurs (version française de « Remarks on Color, 1994 »), 1994-1998, Color video, projector, amplified sound system, 49 min, A.P. 1/1.
L’Écoute, 1992, 2 Cibachrome prints, 5/5.
Barbara Steinman, L’Écoute, 1992 L’Écoute, 1992, 2 Cibachrome prints, 5/5.
La Voie lactée, 1992, Light box, aluminum casing, and inkjet print on translucent canvas, 1/2.
Geneviève Cadieux, La Voie lactée, 1992 La Voie lactée, 1992, Light box, aluminum casing, and inkjet print on translucent canvas, 1/2.
Untitled (Water), 1992, 5 light boxes with colour transparencies and 25 framed mirrors, 2/2.
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detail of Fatigues, 2014, Mounted animals, 3 elements (White-tailed deer, American red fox, North American porcupine).
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still EAST of Soliloquy, 1999, 16 mm colour film transferred on 2 DVDs, 2 screens, sound, 17 min 33 s., 5/6.
Shirin Neshat, Soliloquy, 1999 still EAST of Soliloquy, 1999, 16 mm colour film transferred on 2 DVDs, 2 screens, sound, 17 min 33 s., 5/6.
still of Answer Me, 2008, HD video, stereo sound, 4 min 51 s, 3/6.
Anri Sala, Answer Me, 2008 still of Answer Me, 2008, HD video, stereo sound, 4 min 51 s, 3/6.
The Red Room - Child, 1994, Wood, metal, wire, glass, and wax.
Louise Bourgeois, The Red Room - Child, 1994 The Red Room - Child, 1994, Wood, metal, wire, glass, and wax.
La Nativité, 1995, Waxed plaster, wood, wax, and cow hide.
Gilles Mihalcean, La Nativité, 1995 La Nativité, 1995, Waxed plaster, wood, wax, and cow hide.
Articulated Intersect. Relational Architecture 18, 2011, Searchlight, and various objects and materials.
Rafael Lozano-Hemmer, Intersection articulée. Architecture relationnelle 18, 2011 Articulated Intersect. Relational Architecture 18, 2011, Searchlight, and various objects and materials.
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