The exhibit features a video sculpture, “Discern in Reverse” that is an amalgamation of two video projections, erratic sound, a three dimensional form, and two handicapped-access bathroom grip bars placed within the exhibit space. The work takes into account the full setting of the space, from its proportion to the perception of the viewer and their interactions, each component emphasizing the process of creation, and destruction, of the work.
The sculpture is built out of Formica walls and platforms, based on the advertising displays created for retail stores. Upon each facing platform wall, Rigau has projected a video work, which is an assemblage and layering of plastic materials being either burned or torn away to reveal a rough-hewn city landscape. “Discern in Reverse” exists between video and sculpture, as the sculpture becomes a vessel for projection yet remains an integral component on its own. Besides drawing attention to the 360-degree view of the exhibition, Carlos also guides the viewer to a particular location within the space to observe the work by the specific placement of the grip bars as ‘leaning’ posts. Rigau’s work is ceaselessly and obsessively, intrigued by the process of creating imagery and its observation, taking on an almost mystical presence.