"Throne For the Third Millenium" is a project done in San Jose Museum, 2003
Throne For The Third Millennium 2003 by Albert Chong with Technical Assistance from Dan Gilsdorf
The Throne For the Third Millennium is the second work from a trilogy of kinetic installation works that are thematically linked by notions, ideas, stories or concepts pertaining to flight. The first of these installation works is Winged Evocations 1998, which traveled extensively nationally here in the USA and to Cuba in 2000 for the Seventh Havana Bienal. The last work of the trilogy has not yet been fully conceptualized. Throne For The Third Millennium 2003
(Description) This is an installation work that requires a minimum square footage of about 250 Sq.Ft. The work consists of a large vertical back wood chair, such as those used in Churches in the USA. This chair will be additionally embellished by the artist and is outfitted with a gear motor that connects to a steel rod and armature. Six feet long wings made from Elk Rawhide are attached to the steel armatures and the motion of the wings is activated by the pressure contact of the viewer sitting on the chair. The chair also comes with a footstool and is placed on top of a wood platform that is painted gold.
The viewer is granted access by way of three steps to the top of the platform. The platform with the throne is placed within a five-sided star made of duck feathers. The participant viewer when seated on this throne instantly achieves elevated status not just in the physical sense of the elevated height of the platform but also by virtue of the elevated focus they are now receiving by being seated on this throne. The last and most profound effect is to attempt to experience the sense of what it must feel like to be regaled or treated like royalty. The feathered pentagram is stating blatantly that whoever sits here is a star. Coincidently in my observations of individuals interacting with the work whoever sits on the throne is usually always transformed judging from their behavior. They usually sit upright with expressions of proud nobility.
This work contributes to cross cultural dialogue by virtue of it interactivity, every common man should have a place or throne upon which he may sit and feel regaled. The work posits the possibility of elevated status to most individuals who have never known or experienced exalted status, or whom have never felt the adoration and applause of an audience. The psychological fetters of colonialism always included a fear, awe or at worst intimidation at best a loyal respect for the structure that most benefits from colonialism. Such illogical hierarchies could not exist if not for the recognition that the subjugated masses at home and abroad pay to the concept of Royalty. Humans being social animals require super alpha males and females as leaders. The greatest expression of this need is seen in society with kings and queens, but it is also very well expressed on the most basic levels from employment in the roles of supervisors to that of mayors and governors and ultimately presidents.
This work like many countries with royal monarchies could be called a Self Esteem Machine, it helps to give form to a basic human fantasy, that of the longing for nobility. When the viewer departs the throne the fantasy is terminated and another individual takes his place much like monarchies do today. This fantasy is manifested through industries that peddle fame and celebrity such as music, entertainment and sports and art to an increasing degree has become afflicted with this obsession. The longing for nobility has been transformed into the cults of personality and celebrity that plagues our society and functions to the detriment of society by becoming a smoke screen or distraction to the general public so that the real, relevant or important issues are ignored in favor of pointless fluff about some media personality's private life.
This work seeks to interact with the public by providing the hard template for the very human fantasy of wealth, self-importance, fame and an elevated or exaggerated sense of self. The viewer brings the psychological mechanism and I provide the physical. This work is for the most part incomplete without the seated participation of the viewer.
Materials:
Duck feathers (approximately 20 pounds) Straight back wood chair with attached motor & armature, Wood platform, wire mesh, Elk Rawhide Wings, Wood footstool, Mirror, palm tendrils, Oroko Thorns.
