Abelardo Morell’s current show at Bonni Benrubi Gallery transports visitors to a topsy-turvy world where exterior spaces are projected onto interior walls, often upside down. A thicket of trees hangs like clouds in a Manhattan apartment; a view of the Grand Canal cuts a near diagonal swath through a room in Venice. Forgoing digital effects, Morell uses the basic principles of camera obscura to create these dreamy superimpositions. In some instances, the outside overpowers the inside, leaving only a trace of the actual interior space — a stack of books on a table is dwarfed by the Piazzetta San Marco, and curtains hanging in a hotel room in Rome marvelously disappear into the columns of the Pantheon.
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