The Caucus Race, 1998

Over the course of a thirty-year career, Diana Thater has managed to develop a highly recognisable formal language, characterised by luminous projections with hyper-saturated colours that expand through the environment. Without hierarchies between the front wall, the floor, the ceiling or the corners of the room, her videos are projected in a disorderly fashion in space, and redesign the perception of the architecture. Thater often makes use of atypical angles, close-up framings and sudden changes of scale, and with a sculptural sensitivity, occupies the whole of the space with old monitors, temporary walls and screens placed on the ground in a horizontal position. It’s not rare for her images to reach the outside of the building through the windows and incorporate the viewers, who see themselves transformed into a projection surface which, with their mere presence, breaks up the uniformity of the cinematographic projection. [...]