The long, cheap, light, wooden bar placed against a property line becomes a canvas for the site. A concrete clarinet-thing breaks the bar, to let light and air and people into the space. A hallway turns into a skylight. Transverse beams become light-gathering appendages. The sections are very simple as a diagram, almost naively simple, but the light monitors introduce some interesting assembly baggage; a pitched roof with a big box growing out of it.
Two exhibit spaces– one for paintings, and one for sculptures. One climate controlled and one with sand instead of a floor. Philip Pavia was the first sculptor to omit the pedestal, both in his work and as a concept. His sculptures could sit in the sand, or maybe they rise from the sand– the ground as the anti-pedestal. A third exhibit space is fully outdoors. Nothing but two horizons; edges between sand and rough concrete and then sky. An endless space for reflection or just for sitting in a lawn chair. The marble sculpture facing you catches nice light in the afternoon sun.
