JEFFREY SCHIFF

  • bio
  • contact

O Sole Mio

Boston Center for the Arts  1990
wood, sheetrock, steel, rubber, casters, tape player
10′ x 13′ x 7′

In a group exhibition in which Kennedy/Violich Architects had been commissioned to design individual spaces for artist installations, I built a movable room so that I could control my own social relations with the other artists in the exhibition. A small conventional room was built on large casters. Punting oars penetrated the sides of the room so that the occupant could push off the floor and blindly steer the room around the exhibition hall. A recording of Caruso singing O Sole Mio continuously played into the room through a vent high on the back wall.

essays and reviews

 

O SOLE MIO
“Installation and Place” Boston Center for the Arts 1990

I conceived of O SOLE MIO (wandering) in response to the specific terms of the exhibition: an architect was to design an architecture to house 16 individual artists’ installations. This constituted a direct reversal of my customary working procedure in which I respond sculpturally to a given architecture. I felt that I could not allow myself to be connected to a larger superstructure, particularly one I knew nothing about. It was a political question regarding the relationship of individual to commune. It seemed that the only way I could participate was as an independent structure, unfixed in location and relationship to the whole – within the exhibition structure but now quite of it. My installation, rather than occupying a room, would be the room itself which would wander aimlessly around the larger space of the Cyclorama. The piece reflects the condition of the artist – the job and melancholy of being alone.

Behold the brilliant sun in all its splendor, Forgotten is the storm, the clouds now vanish, The fresh’ning breezes, heavy airs will banish, Behold the brilliant sun in all its splendor!
A sun I know of that’s brighter yet, This sun, my dearest, ’tis naught but thee, The face, so fair to see, That shall now my sun forever be.

Behold the radiant sun mid evening shadows, With golden light it covers all creation, Until it sinks below the world’s foundation. Behold the radiant sun mid evening shadows.

A sun I know that’s brighter yet, This sun, my dearest, ’tis naught but thee, Thy face, so fair to see, That shall now my sun forever be.

Eduardo Di Capua





 
Related Posts
The Library Project: Number
The Library Project: Number
bound book, 500 pages 9" x 12" x 2" Number is a book that shows the calculated number of books in the imaginary library described in Jorge Luis Borges' story "The Library ...
READ MORE
Manworldfellthrough
Bellagio Rockefeller Drawings
2002 each drawing: 18"x23.25" graphite on paper Rubbings made from the Rockefeller Foundation seal on the grounds of the Bellagio Study Center.
READ MORE
Lean-To 1
Lean-Tos and Floor-Piles
2007-10 found wood, steel Found wooden boards are stacked and leaned in provisional order, forming a casual or unintended set of interrelations. A steel counter-structure holds the elements in their exact places, ...
READ MORE
Embeds
Embeds
2006-9 cast hydrocal, found objects Found objects are embedded in cast hydrocal blocks that hold them in positions that conform to the dimensional format of the block.
READ MORE
(42"x40")
Ink Maps
Ink on paper 2009
READ MORE
If Ever…
If Ever…
...if ever the silver cord be loosed, or the golden bowl be broken..." Zilkha Gallery, Wesleyan University  1989 steel, lead, lead wire, limestone 24' x 21' x 19' A steel rack supporting 19 steel ...
READ MORE
Shattered
Shattered
2011-12 terra cotta, hydrocal Shattered terra cotta urns from Terra Cotta Incognito mounted on hydrocal slabs.
READ MORE
Possessions
Possessions
1984-6 granite, reinforced concrete Dimensions variable Found blocks of granite encased in cast concrete with concrete handles, transforming the granite into a transportable object.
READ MORE
Kill van Kull
Kill Van Kull
Snug Harbor Cultural Center, Staten Island, NY  1991 steel, rubber on limestone columns dimensions indeterminate (11' spears) Snug Harbor is a complex of classical buildings in various stages of ruin and renovation. Directly ...
READ MORE
Everyday Chidambaram
Everyday Chidambaram
1998-2002 black granite, household objects (soap, plastic kitchenware, sponge, etc. Variable Dimensions In Everyday Chidambaram, granite plinths, based on details of Indian temple architecture, were customized to house the disposable objects of daily rituals—plastic ...
READ MORE
The Library Project: Number
Bellagio Rockefeller Drawings
Lean-Tos and Floor-Piles
Embeds
Ink Maps
If Ever…
Shattered
Possessions
Kill Van Kull
Everyday Chidambaram

  • Installations
    • Double Vision: Transactions of the American Philosophical SocietyDouble Vision: Transactions of the American Philosophical Society
    • The Library ProjectThe Library Project
    • from L’Encyclopédie: Miriotierfrom L’Encyclopédie: Miriotier
    • Mobile GlobalMobile Global
    • Vertical HoldVertical Hold
    • Potter’s FieldPotter’s Field
    • Everywhere ChidambaramEverywhere Chidambaram
    • Everyday ChidambaramEveryday Chidambaram
    • Sole ContactSole Contact
    • Earth AgainEarth Again
    • Deux Ex MachinaDeux Ex Machina
    • If Ever…If Ever…
    • Kill Van KullKill Van Kull
  • Public Commissions
    • DestinationsDestinations
    • Rail of JusticeRail of Justice
  • Sculpture
    • Carpet RubbleCarpet Rubble
    • ContingenciesContingencies
    • DisThermiaDisThermia
    • Lean-Tos and Floor-PilesLean-Tos and Floor-Piles
    • SchemataSchemata
    • EmbedsEmbeds
    • Casting BlocksCasting Blocks
    • KneelersKneelers
    • DevicesDevices
    • TransparenciesTransparencies
  • Performance
    • Praying ProjectPraying Project
    • ColossusColossus
    • Second MesaSecond Mesa
  • Interactivity
    • Sole ContactSole Contact
    • Potter’s FieldPotter’s Field
    • KneelersKneelers
    • Everywhere ChidambaramEverywhere Chidambaram
  • Photo Work
    • InterruptionsInterruptions
    • Contingencies: PhotoworksContingencies: Photoworks
    • reConstructionsreConstructions
    • from L’Encyclopédie: Miriotier Photoworksfrom L’Encyclopédie: Miriotier Photoworks
  • Drawings
    • Ink MapsInk Maps
    • Rome/Bologna DrawingsRome/Bologna Drawings
    • Bellagio Rockefeller DrawingsBellagio Rockefeller Drawings
    • The Library Project: YeastThe Library Project: Yeast
    • NetworksNetworks
    • Color MapsColor Maps
  • Archive
    • Odds and Ends
    • I.C.A. ProjectI.C.A. Project
    • W.P.A. ProjectW.P.A. Project
    • RevisionRevision
    • Second SightSecond Sight
    • A Courtyard, an Axis, an AmbulatoryA Courtyard, an Axis, an Ambulatory
    • High MesaHigh Mesa
    • New GroundNew Ground
    • Separate GroundSeparate Ground
    • O Sole MioO Sole Mio
    • If Ever…If Ever…
    • Second MesaSecond Mesa
    • PossessionsPossessions

O Sole Mio

August 28, 2014 by jschiff@wesleyan.edu

Boston Center for the Arts  1990
wood, sheetrock, steel, rubber, casters, tape player
10′ x 13′ x 7′

In a group exhibition in which Kennedy/Violich Architects had been commissioned to design individual spaces for artist installations, I built a movable room so that I could control my own social relations with the other artists in the exhibition. A small conventional room was built on large casters. Punting oars penetrated the sides of the room so that the occupant could push off the floor and blindly steer the room around the exhibition hall. A recording of Caruso singing O Sole Mio continuously played into the room through a vent high on the back wall.

essays and reviews

 

O SOLE MIO
“Installation and Place” Boston Center for the Arts 1990

I conceived of O SOLE MIO (wandering) in response to the specific terms of the exhibition: an architect was to design an architecture to house 16 individual artists’ installations. This constituted a direct reversal of my customary working procedure in which I respond sculpturally to a given architecture. I felt that I could not allow myself to be connected to a larger superstructure, particularly one I knew nothing about. It was a political question regarding the relationship of individual to commune. It seemed that the only way I could participate was as an independent structure, unfixed in location and relationship to the whole – within the exhibition structure but now quite of it. My installation, rather than occupying a room, would be the room itself which would wander aimlessly around the larger space of the Cyclorama. The piece reflects the condition of the artist – the job and melancholy of being alone.

Behold the brilliant sun in all its splendor, Forgotten is the storm, the clouds now vanish, The fresh’ning breezes, heavy airs will banish, Behold the brilliant sun in all its splendor!
A sun I know of that’s brighter yet, This sun, my dearest, ’tis naught but thee, The face, so fair to see, That shall now my sun forever be.

Behold the radiant sun mid evening shadows, With golden light it covers all creation, Until it sinks below the world’s foundation. Behold the radiant sun mid evening shadows.

A sun I know that’s brighter yet, This sun, my dearest, ’tis naught but thee, Thy face, so fair to see, That shall now my sun forever be.

Eduardo Di Capua





 

You May Also Like

Inscriptions
Embeds
Casting Blocks

Copyright © 2026 · Genesis Framework · WordPress · Log in