Gary Hill /
Video installation at MOMA where the camera is positioned on parts of the artist's naked body and then displayed on 16 monitors of different sizes. Each monitor is stripped of it's casing (making it also naked). On one monitor Hill's ear and foot lie side by side. I feel an affinity with this way of deconstructing and reconfiguring. In the Flinders House and the Clifton Hill House I use a single tree, slice its parts to make the veneer and then unwrapped in its entirety to represent the whole again.
wHY Architecture dentist's house /
I came across this house by the Japenese firm "wHY Architecture". I was intrigued by their design statement which reads as follows: "The house design gives emphasis and space to the glass-sided living room, surrounded by open gardens. The father who works as a dentist from 9AM to 9PM everyday wants to have a place in his own house that at the end of the day he could withdraw even from his family, his wife and two young daughters, to pursue the subjects of his personal interest - music, films and books. This open glass room (enclosed image), connecting to the house only through an underground corridor, is the sanctuary where he can be himself. The family has meals and activities together in the family living and dining room but each one of them could withdraw into their own world in their own room / garden." More images
Lost House & Lorna Simpson Studio /
The British architect David Adjaye talks about a number of projects including the "loss House" (8 min 45 sec in) he designed for two fashion designers in London and a studio in Brooklyn (30 min 50 sec in) for the artists Lorna Simpson and James Casebere. His confidence and directness in exploring the notion of the private realm as "retreat" are quite extraordinary. What I love most about his work is that it is not driven by a preoccupation with systems and functional outcomes. He creates a sort of "emotive architecture" which touches the raw perimeter of existence.
Cate Consandine /
My partner Cate Consandine is an installation artist who has been exploring the poetics of desire, as played out between the body and the architecture of cinema. Her work employs spatial intervention, action, and the specific placement of objects to crystalise edges that connect the accoutrement of desire to felt experience.
Rude finger gestures /
I been interested in exploring notions of functional engagement (in this case how you open a door) which transcend that function. This idea was developed in the door handles for the clifton Hill house. Designed as a pair of finger pulls made by pressing the edges of small stainless steel tubes, and fixing them through the face of the doors. Each pair is positioned according to a predetermined principle. For example those you use with your left hand are set slightly lower than those you use with you right hand. The resulting postures that the user engages with as they move between each door are quite interesting. Firstly they make the gesture of the twin finger, which in itself is somewhat confronting if not rude, and then they coordinate the fingers perfectly and slip them through holes simultaneously. All this whilst positioning each hand at different heights. It is learned behavior with unusual spacial outcomes- perhaps akin to a dance sequence.