Outpost 010722
Intermediaries/Exploratory Realities.
Constructs/Apparatuses.
Elastic Horizons/Schisms
Space-Time Manifolds
Heuristic Devices/Poetic Ideas
Strange Attractors/Drawings/Diagrams
Architectures that embody philosophy, through limited concepts that work with the contingent and the uncertain.
Light has a new prolific dimension today as a means of measurement and communication.
Light that is not seen with the eyes can be felt.
Light's psychological effects can lead to extremes of feeling with direct repercussions.
The revelations of new spaces, like interwoven languages, dissolve and reappear in light. In magnificent spaces, light changes and appears to describe form.
An eclipse of white clarity suddenly gives way to a pulse with colour; light is contingent, its shadows intermittent.
In the mist of the metropolis at night, space dissolves before our eyes, only to take shape again within seconds.
The spatial depth of the urban field cannot be objectified precisely. In its pulse the polarised position of our body and its perceptions are upset.
If we explore spatial depth, then we can consider how objects appear correct or inverted. During our thought-experiments regarding space, especially space beyond the earthbound (Event Horizon, black hole) we accept new spatial levels and by the force of our imaginations, alter the known spatial levels of previous human existence.
Horizon with aurora borealis.
A horizon is not only an optical condition but also a spinning moment in space-time.
In this sense, the earth is not the ground.
As things continue to float, they spin and accelerate creating subtle centrifugal forces.
We are organic beings.
All of our objective relations begin from the inside out.
We must form an extended comprehension of space and time at the scale of astronomical events while not losing the perspective of the microscopic.
Parallax, Steven Holl.
Prototyping For Architects, Mark Burry, Jane Burry.
Why it does not have to be in focus, Jackie Higgins.
Studio Painting/Constituent Parts.
Matter and Affect
Presence and Mutability
Affective Abstractions
Robert Ryman
Shifting perceptions into immersions within a sensate world.
Japanese Minimalism
Exploratory Diagrams
Spatial Forms/Horizons
Building as a body, a battleground of invisible forces. The spine is the central elevator.
The structure is a tube of concrete covered with insulation and tarred black wood boards.
Knut Hamsun Museum, Hamaroy, Norway.
Works on Paper and Cloth, visible fixings, securely situated to the wall space.
Architectural Panels/Painting Surfaces.
Soundproofing social noise
The solitary artist literally at the edge of his environment, in a state of profound meditation about our place in the wider cosmos.
We are no longer on the outside as an objective, dispassionate observer, but are now part of the journey and perhaps more subtly part of a ceaseless life-giving cycle.
When we are at the beginning of a journey we, like Odysseus, contemplate a character (or concept) that does not yet exist. Absence and loss precede the appearance of an abstract driving force.
Chaos, confusion, and implosion of information bound up in rules, constraints, and limited means precede every architectural challenge. Once the imagined concept takes hold, its correctness is tested in the way it can work in different modes, from program to light, to space and to material.
The journey from the abstract to the concrete is a metamorphosis from a poetic idea with an exploratory diagram, a coherent purpose to form.
Mattering/Metaphor
Dartmoor/Water
Stream of thought, cascades of neural activity in your mind.
Imprints of the natural environment, explorations of matter and light, self and other.
Works that seem caught between this world and evoking a place that is otherworldly.
She works outdoors using the nocturnal landscape as a darkroom.
On The Presentness Of Photography, Craigie Horsfield.
For Horsfield, by separating the act of taking the image from that of printing it, he believes he draws attention to the 'pastness' of the photograph, which is what the picture depicts, its subject and what he calls the 'presentness' which is how the photograph exists through its surface, its matter, and the physical object.
The instant of the moment is also a past reality.
Slow History/Slow Time on the presentness of things and their complicated relationships to time.
Tactile Light/Casting Images.
Pliny/Butades, tracing an outline of a shadow onto a wall.
Christopher Bucklow has devised a process to depict figures composed of myriad pinhole photographs of the sun. He dispenses with the negative by casting images directly into photograms.
She, is rendered not as a shadow but manifested as a radiant, luminous being.
They flesh themselves in the astral remnants of dilated starlight.
Skin
Surface
Subjectivity
The composed image is given an apparent physicality, its surface should be constituted by and of place and time, it should be vulnerable, porous to impressions like skin.
Physical Forms
Landscape
Free Movement
Cone of Vision/Refraction Diagram
Parallax
Elastic Horizons
Science remains essentially mysterious, yet our daily scientific and phenomenal experiences shape our lives; experience sets a new frame from which we interpret what we perceive.
No comments:
Post a Comment