Jan 21, 2021
Wellington Reiter on the necessity of fiction in architecture, 1999
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Wellington Reiter on the necessity of fiction in architecture, 1999
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HOW/WILL THE PRESENTATION OF MY WORK CHANGE ITS CONTEXT/MEANING?
ive been considering this for quite a while, since ive been focusing on one particular piece, working and adding to it and working around it rather than starting fresh each time i feel like i cant do anything with it anymore. since my work is the biggest scale ive ever experimented with i have really been considering how could the way i present it change the context and meaning around it.Â
the first way that i was exploring of presenting my recent work was in a very individual and blocked out way, i was considering of creating a series of works that i will later use to trap colours and smells by folding the large pieces of plastic and layering these on top of each other creating medium scale sculpture/painting outcomes. these felt very cold and were very narrow on perspective and what you can see, this meant that some parts were covered and only a small part of the actual work was visible. i wanted to show a lot more and this was not the best way to do that.Â
i than started to unfold these compressed pieces which was quite a difficult in the first place because the medium inside of these folded sheets was still wet and attached, so peeling this colour off from a sticky surface made it mix together a lot. after unfolding them i placed them the to be the same way when i was making them, and started to layer the pieces on top of each other, the wetness would stick them together and mix colours but also keep them separate, adding individual new parts to make a one solid piece of experimental work.Â
then using quite repetitive steps i folded it all together again, this was also quite compressed and helped the colours mix but kept them separate inside, this was a whole piece of work no longer individual experimental parts, it was connected naturally almost skin like affect. however it didnt feel well presented and felt as if you're looking down on it, rather than experiencing and seeing it in a lot more developed way.Â
this is when i decided to unfold the whole piece again and hang it up similarly to what i did at the very beginning, this way you could see the whole of the work all at once, creases and moulds were clearly visible as well as tiny details from up close. when i hung it up on the wall the scale of the work felt like it had increased, you feel more a part of it. wet sheets connect naturally and feel skin like, the smells of it make it feel almost human like, this makes the viewer experience work feel more like a part of it rather than just seeing it from aside.
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