plaster of paris/copper wire/bamboo/silicon/leaves & twigs(black birch)/indian ink.
Avoiding the pitfall of ‘why do a critique ?’ here it is.
Viability. (That which can live)
Obviously this is designed to fall into my 3D Major and it conveniently also presents as a third ‘boxed piece’. I imagine there can be more in this style, but I will leave that discussion til later. I have previously talked about why-3D in a sort-of two dimensional plane, so am happy to let that stand. I think it still works as original and fresh, asking a lot of questions of our perception and expectation.
I enjoy the physical manipulation, the constructivism of this process. Many steps accumulating and being present alongside invisible operations, all building layers (albeit invisible) and textures which in turn serve as jumping off points, supports for subsequent other operations….
Here is one theme of building layers which recurs in my work or taking away layers. There is subversion and undermining.
I was thinking about all operations being somehow binary or one analysis pointing to this view of a dualistic process. One or the other, cake or death, yin or yang and this being one perception of one moment existing momentarily ( as strand of data) which is meanwhile not neutral and therefore caught up in a dynamic, endlessly changing process etc. Nothing new there but the idea (as strand of data) goes some way towards accepting the process as viable and enduring. This probably is useful in subsequent and ‘other’dialogues to do with the function of the piece.
It speaks quite strongly of playfulness this time and even though I have returned the book of P.Klee to the library (and miss having it in the house) I am pulled to an interpretation of his work as subversive and derisive of tendencies to elevate the work. I liken it again to my process when cooking of building complexity, building meaning, language and content. This work pushes out from the wall, you sense the tension physically with the wires frantically criss crossing the surface trying to hold the tiles in place, literally holding them back from falling down. This anxiety is subdued however with a sense that if they actually fell, they probably would reassemble in a similar pattern. The playfulness carries the message of renewal and change.
There are window like splashes of color which do not evolve, coalesce or clarify. They simply illuminate an other wise flat black and white landscape. Twigs and dried leaves reinforce the randomness thus juxtaposing a levity into what is strict, limited, defined and controlled.
Finally, there is weight and heft involved. More than half the tiles are predominately white, like the box itself, creating an illusion of absence/lightness.
There are details which I do not develop in this view; grids, lines horizontal and vertical, diagonals, 100 tablets, figure and ground, holes, bamboo bridges, knots and glue all playing a part. Singularly or collective they are devices (or loops) which feed into an ongoingness, dynamic, a motor activated by their own process and by the action of being observed.
And there is always more.