For months, I had planned to visit the Venice Biennale, the major contemporary art exhibit that takes place in this culturally breathtaking city every two years.
I had planned how I would carry three suitcases over the bridge crossing the Grand Canal to the Santa Lucia train station – hook the smaller bag to a larger one like pilots do – store them at the station for the day, and then take a water bus to the 11th century San Stae church, which hosted at its entrance a small section of a monumental installation by Ukraine’s Oksana Mas. From there, I would go the Chiesa di San Fantin, near glorious San Marco Square, where I would visit the second section of her work.
Viewed up close, the sins and future hopes of the individuals who hand-painted the eggs are evident. From afar, however, collectively these eggs become a re-creation of sections of the Ghent Altarpiece.