Often we move to a new art or technology expecting final solutions, as though at least in its designated area invention might impose an order which would keep peace with time without being modified by it. Yet, many breakthroughs are interim solutions; their intensities are a gathering of the positive restrictive difficulties of making an experiment. Holography is a nascent, increasingly available technology, a “now what?” circumstance for artistic exploration whose first solutions have achieved the fragile yet dynamic validity of a new medium.
Like the “Holodeons”, the plates give variations of color and form to each different viewpoint, but these elements are more consciously directed in the later series. The effects are remarkable, from the boldness of multiples-plate works such as “Detail” to the delicacy of the pair of holograms applied to rainbow-mist water colors. The images are abstract, luminous, and severe. This is an obvious connection from the plate holograms back to Anait’s “Three Objects in Space” “Holodeon”, while relativities of luminosity and texture have antecedents in her earlier lenses. General resonances exist to the works of such “classical” abstract artists as Alpers and Rothko and to experiments with “Kinetics” undertaken primarily in Europe.
Anait has forthrightly mastered a new medium; the results are important for their technical accomplishments and more important for deeply felt ideas about space and time which Anait projects into the future of art.
David Schaff
Coordinator of Traveling Exhibits
Association of Science-Technology Center
brochure ‘Theme and Variation’, 1977