Pyramid

“What we are given the opportunity to practice seeing, as we experience art, is ultimately to see ourselves, to understand ourselves as full beings. The work of seeing yourself is an artistic practice.” – Jordan Roth

In the final act, Pyramid, Jordan Roth is dressed by the guides in a voluminous white garment which, through a grand gesture, ascends toward the Cour Marly’s glass ceiling. Stationed beneath, the guides extend the garment’s four corners, pulling the fabric taut to reveal its pyramidal shape. At its apex, projections onto Roth’s garment depict the reflected surface of the Louvre’s glass pyramid edifice—a moving collage composed of time-lapse video and images of the sky taken from twenty-five paintings in the Louvre’s collections. Among the works included are Rubens’ Saints Dominic and Francis Saving the World from Christ’s Anger, Mantegna’s Minerva Chases the Vices from the Garden of Virtue, and Paul Huet’s Sunset.

The projections incorporated into Pyramid transform Roth’s garment into a prismatic vehicle that allowed viewers to traverse from inside the Cour Marly to outside the Louvre’s Pyramid, altering and expanding our perception of what fashion and performance can be. From fabric to pyramid, dress to architecture, the boundaries between the exterior and interior world collapse, unifying the artist and space as one