Scenic Overlook consists of four wooden sculptures representing the four tallest observation towers in the world. Presented on steel tripod-like support structures, these sculptures range from twenty to twenty-five feet.
The towers dynamically intersect the gallery and all point to one exact position on the balcony overlooking the gallery. This view imitates the bird’s eye perspective one can see on Google Earth, while simultaneously flattening into simple geometric shapes. When viewed from this precise vantage point, the sculptures seemed to point back toward the viewer. Through this shift in perspective, the power of the viewer emerges in relationship to the sculpture.
In the early 20th century, the Futurists identified the aerial perspective as a source of visual power. The then-novel ability to peer down from a great height upon a city was considered to be both technologically and conceptually revolutionary. A century later, cities continue to think vertically, building enormous towers not only to transmit signals for communications media, but as iconic architectural structures to express the city’s progressive status in a global context. The tourist easily recognizes these structures, which act as metonymic representations of place. They offering stunning panoptic views from their observation decks, however, they are still very removed from the sights and sounds of the city from the vantage point we have at ground level.
Curated by Allison Peters Quinn.
This project is partially supported by a grant from the Illinois Arts Council Agency with an Individual Artist Project Grant and the Department of Cultural Affairs and Special Events for the City of Chicago (DCASE).
Related Press
Yood, James, “Top Ten 2015: Chicago,” art ltd. magazine, January 2016
Mercurio, Frank, “Susan Giles: Exhibiting at The Mission and Hyde Park Art Center this Summer,” Chicago Gallery News, June 17, 2015
Dluzen, Robin, “Editorial Feature,” Visual Art Source, June 2015
Lane, S. Nicole, “Scenic Overlook//Interview with Susan Giles,” The Seen, May 7, 2015