“The Paris Biennale  provided [Gordon] Matta-Clark with an opportunity to work with the conical figure of projected light — the material in which [artist Anthony] McCall had rendered what he called his ‘solid light film’ performances. It is perhaps precisely this spatialised manifestation of light that was the inspiration for Matta-Clark’s vision of a ‘sound and light show’. Gerry Hovagimyan, one of the artist’s two assistant in the dusty enterprise on the rue Beaubourg, recalled that ‘Gordon and I talked about [Line Describing a Cone] a lot, and that’s what he was trying to do at Beaubourg. In fact, that was the first total Gestalt image he used in a building. […] Before Conical Intersect he used to chop everything apart.’ This paracinematic aspect of Conical Intersect conjoined, for the first time, Matta-Clark’s filmic ambitions with what he called his ‘anarchitectural’ practice of ‘making space without building it.'”
Excerpt from Bruce Jenkins, Gordon Matta-Clark: Conical Intersect, (London: Afterall Books, 2011) 39.
Photo by Deborah Wang, the reader.