There is a form of aesthetic enjoyment described by Gombrich that arises when the mind solves a puzzle set by an artist for the eye. Dean’s geometric trompes skew parallaxes and perspectives, forcing the process of sensing into two. Rhomboid and polygonal canvases play host to projections and mappings, each with a Euclidian logic, in which further frames, figures, and faces compete for plane primacy.
This once baffling picture-in-picture vision of ‘90s TV sets is now second nature to the third eye which evolved at the end of the phone-clutching hand. Holbein’s skull impresses no one anymore. But Dean takes her spatial trickery seriously, loading it with temporal signatures that throw the installation to the corner of the arcade’s mirror room.
