On Aug. 21, 2017, thousands of people on the University of Utah campus and millions more across the nation gathered to watch the solar eclipse. This natural phenomenon was a fascinating and exciting moment. Even for those who are astronomically challenged like me, the eclipse was a once-in-a-lifetime event. The moment has passed, and now a long waiting game is underway. In fact, the next total eclipse to reach Utah won’t be until 2045. So if you have had a solar-eclipse-sized hole in your heart since August, a new piece at the Utah Museum of Fine Art might be the perfect way to fill the void.
A part of the exhibition “Salt 13”, Katie Paterson’s work “Totality” immediately stands out in the museum. At first glance, it looks like a giant disco ball hanging in the center of an empty room. This ball is covered with approximately 10,000 small images of solar eclipses, placed on reflective mirrors. As the ball slowly rotates around the room, the images appear on the wall as small shapes of light. According to the UMFA’s description, Paterson collected her work from a wide range of sources. As described on UMFA’s website, “[t]he images, recorded by mankind at locations across the planet, span hundreds of years from drawings made in the eighteenth century to early photographs taken in the nineteenth century to the most advanced telescopic images generated today.”
With “Salt 13” in general and “Totality” in particular, Paterson attempts to evoke nothing less than the vastness and wonder of the universe. On the walls of the room, short statements describe the artwork in astral terms. One compares the work to “[t]he universe rewound and played back in a real time.” Another states that the piece is “[a] solar flare containing all the light in the universe.”
Nothing is exactly wrong with these fragmented bits of poetry, but these statements are much less effective than the work itself. “Totality” creates a mesmerizing sensory experience. Individually, viewers examine the various shapes of the different eclipses. When these individual projects are combined, the movement of light in the space creates a fascinating pattern as the ball rotates like a small planet.
Unfortunately, the piece’s effectiveness is undercut by its own presentation. “Totality” would be better in a room large enough to make the piece feel expansive. In a venue with empty space, the light could fill the room in an overwhelming way. The exhibit would also thrive in complete darkness; the natural light from the rest of the museum competed with, rather than complemented, “Totality’s” projections.
Overall, “Totality” is a memorable piece that allows viewers to take part in a full sensory experience. Paterson’s work both reflects and recontextualizes the experience of an eclipse. It should be of interest to anyone looking for unique, engaging artwork.