“A dreamlike Blindsight
Visiting sculptor Rosalyn Driscoll and filmmaker Sarah Bliss’s ambitious, lyrical installation, Blindsight, at Boston Sculptors Gallery is like walking into a dream. Bliss’s four-channel video plays over fabric, paper, and rawhide screens that Driscoll has installed throughout a darkened room. Images beam onto and through them; they wrinkle and smear along with the rawhide.
Bliss’s images of rushing rain and ice on branches frame the central narrative, an unspoken, choreographed exchange among a handful of actors, often with water pouring down on them. Moody and beautiful, their movements drift into nearly erotic encounters and into conflict; often, they feel akin to ritual. Indeed, Driscoll’s environment, dark with filmic windows of light, feels like a sacred space, a labyrinth through which we yet can see.”
Cate McQuaid, exhibition review of Blindsight, Boston Sculptors Gallery, in the Boston Globe, June 30, 2015
https://www.bostonglobe.com/arts/2015/06/30/philip-guston-influence-assessed-steven-zevitas-gallery/t26Ftewdwx3JurbCHcUeRM/story.html
“Driscoll’s maze of scrim, vellum, moire, metal and rawhide screens adds to the complexity. At times, the scars and blemishes of the animal hide contribute visual ambiguity, making it tempting to touch the surface to find out if the roughness lies there or in the filmed image…Driscoll’s focus on the sense of touch was easy when she made sculpture–she encouraged people to touch it. Here, these collaborators have made haptic video.”
Marty Carlock, exhibition review of Blindsight, Boston Sculptors Gallery, in Sculpture, November, 2015
http://www.sculpture.org/documents/scmag15/nov_15/nov15_reviews.shtml