Historically an artist’s journal has been seen as a mythical world, which remains hidden until an artist’s passing, where the birth of ideas take their shape. Upon my first encounter with Natalia Sahlit’s work I felt I was being invited into this secret world of an artist. I instantly felt drawn in by the cornered in journal and a soft edge triangular illuminative light. It felt as if one was viewing a birth of an artist’s idea at an embryonic stage. However, as inviting as the glow appeared, it hid perhaps more than it revealed and soon I felt I was drawn into the game of the artist.
I questioned whether the empty slots of the slide machine and the page upon which the pure projection rested was an open invitation for my imagination to write this page, and so I did. In this way the work was evocative, this light was my canvas. As the viewer I was shaping this work with my own slides of memory. At the same time it was provocative because the blank page felt threating just as much as the concrete block which Natalia placed below the work. I found this solid square anarchically blocking me from getting close to the work. A journal like a diary, its secrecy is fascinating and inviting, I wanted to turn the pages back yet I questioned my authority of doing so. When no one was looking, like a naughty child I did secrecy of the object brought excitement into the subject. Then as I moved back the journal and the light appeared as the all-seeming eye, here I was left feeling as if I had been caught in an act of transgression.
The ambiguity and playfulness of this work left a lasting impression vis-à-vis the object-subject relations and made me question my position within it. This work is open-ended.