Immateriality and Transparency
2014 Stevens Competition
Cambridge University Hospitals
Biomedical Campus
Photography and Drawing
Marks and movements of precision and indeterminacy
Outpost 240222
Procession
Choreography of light for the moving eye.
Henry Plummer, 2009.
The Interplay of Light and Movement.
The visual attraction that can electrify space with strong perceptual and emotional forces.
Simulacrum, E.ON Munich, Andreas Horlitz, 2006.
'Art in construction' is a wall installation that describes a superimposition of different systems for interpreting the world. Astronomical motifs are superimposed on micro array structures, while lines of force from the world of electricity and imaged quotations from that of quantum physics are, in turn, superimposed on the astronomical images.
Andreas Horlitz no longer saw photographic images as images intended to reflect reality, but rather as raw material to be worked, a source of artistic creativity. Photography simply supplies the material that the artist then reorders and combines in order to establish another unexpected sensual context and thus provide insight into what we perceive as reality. For Horlitz the idea of the image detail, its meaning as part of a larger reality, and the idea of superimposition have been present in the artist's work from the very beginning.
Horlitz's pictures raise the question of whether photography is even capable of reproducing the complex structures of reality.
Barbel Tannert.
Primal Images, Gaston Bachelard's loss and then recovery of light in darkness.
Due to its power to seduce and attract, light has always played a pivotal role in successions of space that are rewarding and memorable.
Immateriality and Transparency.
Technique and Expression in Glass Architecture.
Pallasmaa, 2003.
Anglian Potters
Undercroft, Norwich.
Ferini Gallery, Lowestoft.
Gas Reduction Firing.
Architectural Ceramics.
Re-Installation of 20 cubic foot kiln surrounded by building materials.
Forming Inside Spaces
Propositions on Architectural Objects/Spaces : Hand-built slab ceramics.
Raw clay slips/oxides/glazes, paper stencils and other intermediary materials.
Post reduction, wood chippings, wire inclusions and wrappings/layerings.
Studio Thinking/Sensory and Sensate : The body in contact with its mattering.
Collage explorations between the division of things.
Immaterial and concrete materials in contact with the corporeal human/social body.
Peter Zumthor, Therme Vals, 1996.
Beyond the symbolic depictions of diagram/map or chart and their mappings/relationships.
Further Study : Working Title
Transitions : Intervals in visual thinking.
Passive/Kinetic Fields : Spatial surfaces of agency between Fine Art, Performance and Architecture.
Capacitance as a working condition/spatial agency of a diffractive art based inquiry/practice.
Definition/Physical Phenomena/Concepts used to attach feelings to things.
Displacements/Situatedness/Patterning/Redundancy.
Capacitance and its relationships, movements between space, surface, volume and subjectivity.
Bitumen Paintings/Pierced Membranes : Encapsulated Layering/Textile
Social noise cancelling art works derived from sound deadening pads.
Baffles/Filters : Spatial Intermediaries.
Richard Serra : Paint Stick Drawings.
Reading Matter and Rooms
The Lake of The Mind/Stochastic Thinking : Steven Holl.
