excerpt from In The Theater of the Sun by Third Object for Where the Eye Not Sun Like

Revered as a divine force in and of itself, the Sun has long been associated with political or spiritual potency. Ancient civilizations in Mesopotamia and Mesoamerica built pyramids in an attempt to concretize the tiered hierarchy of the cosmos. The Pyramid of the Sun in Teotihuacan, for example, is believed to have been a space for spiritual devotion to the elements of fire and water [1]. The structure is celestially charged as well, its site and orientation determined by the path of the Sun and functional as a calendrical marker.[2] The pyramid form is the ideal merger of horizontality and verticality, a stepwise coupling of the earthly plain and the sun soaked sky. Assaf Evron’s pyramidical Untitled (Richard the III, Leopold Jessner, Emil Pirchan, 1919), 2015, is a model for a different monument, the 1919 Berlin State Theater stage setting for Leopold Jessner’s Richard the III. In the play, the tiers of the stage served as temporal markers on which different scenes played out in the story of Richard’s ascent to power through murder and manipulation. The piece nods toward the heliotropic upwardness of the politically ambitious while slyly revealing the theater as the foundation for all political and spiritual leadership.

[1] Department of the AAOA. “Teotihuacan: Pyramids of the Sun and the Moon.” Heilbrunn Timeline of Art History, (New York: The Metropolitan Museum of Art, 2000–), .
[2] David Summers, Real Spaces (London, New York: Phaidon Press, 2003), 161.