FACADES AND FETISHES SERIES
V.O.M. = VAGUE OBJECT MOTIFS, EMERALD SERIES
HAND-POLISHED, CAST POLYESTER RESIN
In this work, behind the surface, an enormous pressure of historical presence exists which manifests as its appearance. The notion of modern reductionism leaving traces “on the [...] body of culture”1 was the vehicle for creating this work. The modern cleansing of vision (which was ridding itself of the sensuality of ornamentation) such as streamlining and aerodynamics, became a contaminated aesthetic.
To rid oneself of history, tradition, ornamentation, to travel efficiently, and to cross cultural boundaries through this streamlined international style, an economy of hygiene and a cleansing of vision from the sensual to the intellect must occur, as was the thinking of Le Corbusier. Yet, the traces of modern reductionism still remains. I find it interesting that the modern means of influence, dissemination and speed – those machines of pure function over form like the steam engine – not only inspired the surfaces of the built environment, they also inspired themselves. A steam engine could have remained with its exposed machinery of moving parts, but surfaces and thus forms, of cars, planes, buildings, vacuum cleaners, men’s shaver kits, radios, wall speakers, lamps, et cetera, grew skins in the form of the idea of aerodynamics and speed. Why would a lamp look it like it could travel quickly? I understand the idea of electricity traveling quickly, but the idea of dissemination manifesting to a physical form for fixed objects seems unnecessary. However, these forms of Modernism’s self-imposed diet of the surface thus created an aesthetic, an ornamentation - the beauty of progress.
1. Groys, Boris. “Comrades of Time.” 2009.
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