The Kemper calls the museum’s entryway an atrium. Soto sees a chapel.
Soto’s commissioned works line the atrium with depth and dimension in this 10th-year installation, highlighting Latin American artists. She interprets the stalagmite-type fixture that adorns the ceiling behind the front desk in a church-like vestibule, and the architecture itself as a homing beacon for her pieces. They furnish the walls in devotion to the working class of Puerto Rico.
Resemblance of a cross made with stacked and fixed fans and a wall built in the style of a tabernacle grate continues the religious motif. Made of widespread Puerto Rican objects like plastic lawn chairs and box fans, there is a hint of imperialist overture the island community’s pervading religion. Soto grew up attending Catholic grade school and high school and now examines the dogma of her youth.
---
Read the full article at thepitchkc.com.
