DO PERSPECTIVES PULSE?
do shadow-people pass through walls?
do footsteps matter if you're voiceless?
do perspectives pulse?
de-framed 1, 2 & 3
All drawings by Sophie Hamer, 2011.
Exhibited inPublication Exhibition.
do shadow-people pass through walls?
do footsteps matter if you're voiceless?
do perspectives pulse?
de-framed 1, 2 & 3
All drawings by Sophie Hamer, 2011.
Exhibited inPublication Exhibition.
In Splashing by Richard Serra (1968), the process of creation is embodied in the work: hardened lead thrown against the base of a wall when molten. Once solidified, the viewer is invited to reconstruct the action in their mind.
Site: Mapping Perspectives and Obliques
I'm caught with my pencil, playing games, instigating linework, enabling the inteactions, all the while thinking about James Corner's The Agency of Mapping :
In devising the map (constructing field frames, naming, indexing, graphic iconography and so on), the designer 'sets up' the game-board in a very specific way, not in order to predetermine or prefigure the outcome but rather to instigate, support and enable social forms of interaction, affiliation and negotiation.
- Page 243
The Cloud Collective's Section House, located on a public green strip in Oisterwijk is just that: a physical, dense section through a typical house. It seems to exist halfway between building site and ruin, halfway between house and playground, halfway between real and unreal. It recalls Whiteread's Ghost - though what is given material presence is not negative space, but the cut of the section. We feel, in it, the resistance of lost matter meeting matter. The drawing is firmly in control of the material - the projected slice is given weight beyond itself.
Catherine Ingraham , in an essay titled Losing It in Architecture has called the architectural drawing a lament. Here, indeed, we see the architect's marks stand in for his absent object, calling it into presence. At the same time, the structure breaks no rules, rather, the logic is misapplied, drawn out from itself. The delight is in what the conventional can allow when we engage with it critically. The Section House acts as an operator, what Stan Allen might call a 'transaction' between the abstract realm of geometry and the material stuff of building.
Whiteread, Ghost