Dear Lake, Cont, from Pg. 1

ofa total cracked surface is confident and
complete.

The tithe Dear Lake makes reference to the
actual Deer Lake inside the Burnaby Art
Centre grounds, and is like an affeetionane
address to something cared for or held in
high regard. This reference directs me to
consider environmental isswes of our fragile
eco system, Sadashi's work gives me an
experience of precatiousness. His insistent
refusal to Jet us enter ches immobile place
becomes a silent warning. | was enveloped

in a mood of impenetrable solitude and loss.

The large starfish shapes boch embellish the
space and form a slow, almost “dead slow"
pulse or tempo of the place, Barely living
or dead —] was not sure.

The dark colouration and beautiful yet
tortured shapes of che starfish made this
seem like ill remnants of life on chia planet.
The placement demanded an overall
response to total pattern. However, looked
at individually, each starfish is sensually
fingered and altered in distinctive
specificity. They are twisted, tor, stroked

poked and rubbed, [wanted oo examine
them more closely, but was held back.
Sadashi is a master of semual surface and
Diele teased by chis prohibition to enter
closer than the front door. This was an
eRective device which demanded
contemplation of che whole picture
from a distance.

While the installation was calm, powerful
and aesthetically beautiful, i¢ was also sad
with o lingering melancholy, |t was as if]
was trapped and impotenc in a chain of
events which wall end life on chis planet
aswe know it. The elements of the sun
and sea are essential to life. This
installation deliberately left our che sun
and che sea.

Sally Michener

(Dear Lake was on view at the Burnaby
Act Gallery from September 7 - Qetober
27, 1996.)

a td =f

Page 7

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