Exploring the relationship between;
architecture and rythm.
Filmstrip Etchings Puzzle
Composition of 9 hard ground etching prints
84,1 x 118,9 cm
The repetition of forms and the gradual change of colours attempt to give a blinking impression and evoke music rhythms.
Each edge is made to match with its opposite one so it can works like an infinite puzzle.
HARD GROUND ETCHING
is an artisan technique for prints, many artists have used it mostly in the past.
The prints were made from the metal copper etching plate. It consists of:
With this technique made in a copper plate coated with wax; we use a needle to execute the lines of the obtained image. Wherever the tip goes, it penetrates the wax and strips the copper. It only remains to immerse the plate in an acid which attacks the metal in the places where it was exposed.
We can now make editions of this plate. If ink is passed on and then wiped off, only these recesses will hold the ink. After all, the plate is pressed very hard against a sheet of paper, the ink left in the grooves will print on the sheet.
Like a dance machine
Acrylics on linen canvas with etched parts
91,44 x 182,88 cm
I wanted to create the atmosphere of a conceptual funky warehouse that embodies the music, rhythms, but also the energy of people dancing in the room.
The flexible body allows us to dance with freedom.
For dancers, certain movements/steps can become mechanical which create a jerky effect.
In this context, I also made an animation projected onto the painting to personify the loop synthesizer.
(Overview in Home Page)
I will never forget the experience when I first discovered the building Cité Radieuse by the architect Le Corbusier and constructed in 1952 in Marseille, France.
This building is a community house and offered its inhabitants access to several facilities. It is a concrete mastodon of 330 flats which appeared to look like an ocean liner. This building is fitted with proximity services and aspires to promote social and personal fulfilment. Each apartment contains coloured anchored furniture and again had the aim to facilitate the people’s needs.
I was mesmerized by it and could contemplate on it for hours. When I found myself standing below the immense masses of concrete supported by crushing pillars, I experienced a feeling of heaviness within architecture as if gravity pulled stronger. The stilts created a sense of a wide open space. Their lines drawn appeared overbearing and felt as if they were calling the bodies to be in movements. I felt that a brutal contrast between flowing dances and the heavy columns could be interesting. To my surprise, people were actually dancing on the rooftop.