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Parfum Extrait
Guaiacwood, Peru balsam, Tolu balsam, Benzoin resinoid, Labdanum, Patchouli fractions, Oak absolute, Whiskey, Vanilla absolute, Tonka bean, Caramel, Clove, Clary sage, Ambergris, Deer muskInstallation (1970) at Pomona College is a conceptual fragrance shaped by absence, material, and the shifting boundary between presence and perception. Inspired by Michael Asher’s seminal site-specific work of the same name, the scent approaches the gallery indirectly, focusing instead on space itself: the architecture of atmosphere, the invisible tensions of construction, and the residual warmth left behind by bodies that have moved on.
The composition is built on warm, tactile resins. Guaiacwood, Peru balsam, tolu balsam, and benzoin resinoid form a structure that recalls light-aged varnish and oiled wood panels, clean and golden, faintly medicinal, and softened by time. These materials function as fundamentals rather than ornament, shaping the space they occupy.
Labdanum and patchouli fractions introduce a restrained textural tension, like shadow passing along clean walls. A dry, leathery density appears briefly, held in check and perceptible only at the edges. Oak absolute anchors the fragrance with an earthy dryness, suggesting sun-warmed dust on concrete or woodwork exposed to heat and sustained attention.
Threaded throughout is the muted warmth of whiskey, vanilla absolute, and tonka bean. These familiar elements are reduced to abstraction, carrying the impression of heat and the trace of sweetness rather than overt richness. A faint strand of caramel surfaces and recedes, tempered by the dry edge of clove and the aromatic clarity of clary sage.
At the base, golden ambergris and a measured touch of deer musk provide a low, steady warmth. Their presence is quiet and stabilizing, lending a human resonance without intimacy. They hold the composition in balance, like breath in a still room.
The fragrance does not progress in distinct stages. It occupies space in a continuous, meditative way, prioritizing saturation over projection. Installation (1970) at Pomona College suits those drawn to the smell of museums, untreated wood, filtered light, and the calm that settles over white walls after a summer crowd has dispersed.
Parfum Extrait
Guaiacwood, Peru balsam, Tolu balsam, Benzoin resinoid, Labdanum, Patchouli fractions, Oak absolute, Whiskey, Vanilla absolute, Tonka bean, Caramel, Clove, Clary sage, Ambergris, Deer muskInstallation (1970) at Pomona College is a conceptual fragrance shaped by absence, material, and the shifting boundary between presence and perception. Inspired by Michael Asher’s seminal site-specific work of the same name, the scent approaches the gallery indirectly, focusing instead on space itself: the architecture of atmosphere, the invisible tensions of construction, and the residual warmth left behind by bodies that have moved on.
The composition is built on warm, tactile resins. Guaiacwood, Peru balsam, tolu balsam, and benzoin resinoid form a structure that recalls light-aged varnish and oiled wood panels, clean and golden, faintly medicinal, and softened by time. These materials function as fundamentals rather than ornament, shaping the space they occupy.
Labdanum and patchouli fractions introduce a restrained textural tension, like shadow passing along clean walls. A dry, leathery density appears briefly, held in check and perceptible only at the edges. Oak absolute anchors the fragrance with an earthy dryness, suggesting sun-warmed dust on concrete or woodwork exposed to heat and sustained attention.
Threaded throughout is the muted warmth of whiskey, vanilla absolute, and tonka bean. These familiar elements are reduced to abstraction, carrying the impression of heat and the trace of sweetness rather than overt richness. A faint strand of caramel surfaces and recedes, tempered by the dry edge of clove and the aromatic clarity of clary sage.
At the base, golden ambergris and a measured touch of deer musk provide a low, steady warmth. Their presence is quiet and stabilizing, lending a human resonance without intimacy. They hold the composition in balance, like breath in a still room.
The fragrance does not progress in distinct stages. It occupies space in a continuous, meditative way, prioritizing saturation over projection. Installation (1970) at Pomona College suits those drawn to the smell of museums, untreated wood, filtered light, and the calm that settles over white walls after a summer crowd has dispersed.