The Omega Suites, Lucinda Devlin, 2000
Electric Chair, Greensville Correctional Facility, Jarratt, Virginia, 1991
Final Holding Cell, Greensville Correctional Facility, Jarratt, Virginia, 1991
Executioner’s Room, Greenhaven Correctional Facility, Greenhaven, New York, 1991
Electric Chair, Greenhaven Correctional Facility, Greenhaven, New York, 1991
…we are present at the moment before or after the body twitches it’s last spasm and not when the death rattle is heard. However, once we cease to be seduced by the beauty of the designed formal space, the civilized moral consciousness asserts itself to challenge privileging the esthetic reaction. Slowly, as we begin to understand what we are looking at, we must question whether the unseen action is any less brutal and barbaric because we perceive its instruments with out witnessing it actually taking place.
Some great moral works of art, such as Jean-Paul Sartre’s existentialist drama Les mains sales, André Cayatte’s film Nous sommes tous des assassins or Maya Lin’s Vietnam Memorial in Washington D.C., in which viewers cannot read the list of the war dead without seeing their own faces mirrored among the names of casualties, are based on forcing our acknowledgment of participation in human tragedy.
The Omega Suites
Introduction by Barbara Rose