Lee Ufan, Stones Cushions and Light
Japanese (and European) based, Korean minimalist artist Lee Ufan talks about the Mono-ha movement of the late 60s.."We used manufactured materials, such as glass, sheet metal or electricity, combined with natural materials, such as dirt, rocks and water. I use the Japanese word chutohampa to describe it, which means unresolved, incomplete or not polished. So you’re neither here nor there; it’s the meeting of the two – oneself and one’s interaction with these materials, both industrial and natural."Relatum,1970, (pictured) combining stones, cushions and lights, installation view at the Pinar Gallery, Tokyo.
Gregor Schneider, 21 Beach cells, Bondi
Gregor Schneider's 2007 installation at Bondi Beach where he installs 21 beach cells, resembling enclosures at Guantanamo Bay. People occupy these cells and go about their daily activity at the beach. See the video. The connection is truly captivating. I really like the casualness of beach life and its oblivion to the rigorous, interventionist construct.
Andreas Gursky, 99 cents
Instead of using the camera to establish parallel lines Gursky emphasizes parallel lines as a compositional element (digitally). What interests me is the way he use the medium of photography in essentially the same manner as the rationalization process of assembly line work that is a condition of modern architecture and technology.
Richard Serra, One Ton Prop
In Richard Serra's "One Ton Prop" four lead plates each 250 Kilos are propping each other up. Gravity itself is the structural principle. The existence of sculpture here relies on an unstable balance, not the illusion of balance, like what you get in a composition, but actual balance. There is a coincidence between the "representing" and the "represented" element. This idea was once a quality that was natural to Architecture. Herzog and De Mouran explored this in some of their earlier work, particularly in some of their warehouses- see Ricola Warehouse in Laufan .
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.
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.