Footprints of the Temple: SITE : CONCEPT
       
     
Footprints of the Temple :Statement of Design Rational
       
     
WORKBOOK
       
     
WORKBOOK
       
     
WORKBOOK : The Brief
       
     
WORKBOOK
       
     
The Site: Plan
       
     
Footprints of the Temple, part a
       
     
Footprints of the Temple; Part 2
       
     
Windmesh in the Studio
       
     
    8. Other project observations and reflections as they emerge:   As process based exploratory practice, a constant questioning emerges as ,How to present this process that is essentially open-ended as a component of a brief for a competition or commission that could be implicitiy asking for a definitive solution of concept.
       
     
The Temple Veil : Indexing the absent wound
       
     
UNVEILING
       
     
 Footprints of the Temple :Final Outcome
       
     
example of anemic script
       
     
screen-shot-2012-10-31-at-22-04-46.png
       
     
Cenotaph of Issac Newton: Etienne-Louis Boullee
       
     
Boullee drawing
       
     
apollo 11 1969
       
     
Matta-Clark
       
     
IMG_4779.jpg
       
     
George Baselitz
       
     
IMG_4780.jpg
       
     
PRIMATIVE HUT
       
     
120550-1472-25615936418_9cb24ec3c8_k.jpg
       
     
Tinguley
       
     
commentranc.jpg
       
     
Chaos_I_at_The_Commons_2011.jpg
       
     
Tinguely45-550x413.jpg
       
     
Tinguely20.jpg
       
     
IMG_4931.jpg
       
     
IMG_5394.jpg
       
     
IMG_5383.jpg
       
     
Windmesh: alternative design,1
       
     
FOOTPRINTS OF THE TEMPLE B.1 jpg
       
     
Siege
       
     
SIEGE OF THE INNOCENTS IMG_4265.JPG
       
     
LINDT P1015314.jpg
       
     
Children of men IMG_3985.JPG
       
     
IMG_3922.JPG
       
     
PIETA IMG_3994.JPG
       
     
P1015256.JPG
       
     
IMG_4757.jpg
       
     
IMG_4783.jpg
       
     
Footprints of the Temple: SITE : CONCEPT
       
     
Footprints of the Temple: SITE : CONCEPT

‘Footprints of the temple’, constructs a meditation on a timeless quest for a reconciliation of an ‘architecture of exile’ with an ‘architecture of homecoming’ through the human quest for meaning in art making. Adopting a language of geometric and fluid, lyrical abstraction the tapestry design seeks to address the transcendent nature of this quest within the imminent narrative of its material composition.

Through research into the individuals referenced in the brief, an understanding of the underlying conceptual theme for the project was reached as an interplay between elemental forces of order and chaos; gravity and entropy; light and dark.

From Boullee’s architecture of Shadows conceived while walking in the forest, during the time of the terror in post revolutionary France. To the mid twentieth century sensibility that enabled the fragmentation of Jean Tinguley generated by post world war European modernism.

Footprints of the Temple :Statement of Design Rational
       
     
Footprints of the Temple :Statement of Design Rational

As woven mural, this design becomes a meditation on the persistence of these transformative forces in contemporary global culture.Geometries from Euclidian and post Euclidian reference, the square and the circle, the squaring of the circle, the double square and mirroring. Rational and irrational numbering and the transcendent ratio of phi. and the intersectional and multi referential symbolism of the Visica Pisces.

The intersectional circle is drawn with a circumference extending beyond the boundaries of the double square to suggest the limitations of known ordering systems, this circle is drawn in fragmented, and syncopated line to suggest a wordless, Asemic text. These ordering systems are brought into dialogue with an intuitive handmade process involving, painting, collage, analogue and digital techniques. With an emphasis on process in the design development it is envisaged that the final transformation will evolve in the translation of the design into woven tapestry, through a collaborative interaction with all processes involved. A possible development could see the incorporation of optic fiber woven into the intersectional circle that would be activated through movement sensors.

WORKBOOK
       
     
WORKBOOK

Master of Arts - Art in Public Space MC079

Theories and professional practice 2_ Tools for Creative action VART3423

PROJECT 2 – COMMISSIONED WORKS

1. PROJECT APPROACH, including early assumptions:

Through insight gleaned from research into the artists referenced in the brief, an understanding of the underlying conceptual theme for the project was that of a discursive, disjunctive interplay between elemental forces of order and chaos,gravity and entropy.

WORKBOOK
       
     
WORKBOOK

The utopian, Enlightenment architect Boullee representing the former and the disjunctive assemblage sculpture of Jean Tingueley the latter. Overlaying these two polar points in the creative process the two figures could also be represented by the opposing forces of light and dark.

Early experiments included the development of imagery from a contemporary sources that project a nonlinear timeline, with a historical and political narrative that mirror social histories contemporary to the times that the two subject artists. The ‘Terror’ of revolutionary France in the time of Boullee and the iconoclastic postwar assemblage of Tinguley.

These reflections are developed in the Statement of Design Rational, that accompanies the submission and is reprinted on adjacent pages.

WORKBOOK : The Brief
       
     
WORKBOOK : The Brief

2. Issues surrounding development of the artwork concept/context, including preliminary visual ideas.

The brief sets out parameters that define the project in terms of site and materials, the brief has been developed and will be judged by a panel that includes the Australian Tapestry workshop. The Australian Tapestry workshop has a deep set of expertise in interpreting artwork designed developed by artists in many formats. Translating art work from the preferred media of the artist into the tapestry format.

Using this knowledge, witnessed by many examples seen both in the workshop in South Melbourne, in situ completed examples and, all those documented on their comprehensive web catalogue. With this knowledge, a decision was made to work through the design development using painting formats scaled to a bodily dimension on panels approximately 180 cm sq.

WORKBOOK
       
     
WORKBOOK

Using scaled drawings supplied with the brief and inserting preliminary studies, to determine an ideal scale for the proposed site.

This resulted in a determination that the scale painting format would represent a 1:2 scale of the final tapestry. This upscaling could be achieved through the interpretative techniques available for the transfer to the woven medium. This may include high resolution digital scanning of the source image to transfer the design to the loom. The process will also include color matching with available dyed yarn.

As a translation from one medium to another, this interpretative process will add its own dynamic to the outcome.

The Site: Plan
       
     
The Site: Plan

3. Identification of site, noting dimensions, characteristics and matters as they evolve

The site has imbedded reference to the subject artists. The space in which the tapestry is to be situated has built reference to the geometries evident in the drawn imagery of Boullee, there is a Jean Tinguelly Sculpture in an adjacent gallery. Works by James Turrell are also a dominant presence.

4. Practical issues identified for the resolution and realisation of works (such as materials, suppliers, risk, time)

As an experienced producer of artist designed tapestry for large sacle public commissions, Australian Tapestry Workshop will be a complete partner in providing knowledge and practical expertise for this project.

Footprints of the Temple, part a
       
     
Footprints of the Temple, part a

180CM X 180CM acrylic and chalk and collage on found windmesh fabric. One of several images developed to be combined to form a double square. This would become the working model to develop the final design conceived at a scale,twice this size in area, to read aesthetically with the architectural space .

Footprints of the Temple; Part 2
       
     
Footprints of the Temple; Part 2

180CM X 180CM acrylic and chalk and collage on found windmesh fabric. One of several images developed to be combined to form a double square. This would become the working model to develop the final design conceived at a scale,twice this size in area, to read aesthetically with the architectural space.

Windmesh in the Studio
       
     
Windmesh in the Studio

Painting and collage on wind mesh retrieved from city building site, used as ‘found ground’, to construct new composition. This will later be brought into dialouge with another ‘square’ to form an ‘mirror’ image, though a mirror that extrapolates rather than replocates.

5. Early project planning _budget and schedule notes

The brief calls for a conceptual design capable of translation as a tapestry in an existing architectural setting. The constraints of the site suggest possible scale for the finished tapestry and refer to specific mode of fabrication, working in collaboration with the Australian Tapestry Workshop. There is no specified budget. Therefore, the design development has focused on addressing the conceptual and aesthetic outcome suggested by the brief.

6. Demonstrating capacity and capability _ working with others/ building a team

With 30 years of working in private practice as an Artist/Architect and licensed Builder, I have worked across all stages of project development and delivery. From developing a brief and budget with clients, concept design, design development, council application, and construction documentation and contract administration. Consultant collaboration, (including heritage, environmental and structural and quantity surveying), Local government negotiations and applications, (including Land and Environment court appeals, neighborhood consultations and dispute resolution). Additionally, work as an exhibition officer with the Visual Arts Board, taking traveling exhibitions to rural centers, managing a commercial Gallery and, teaching at tertiary, secondary, primary and adult education have contributed to an understanding of engagement with collaborative work and team building. In parallel to this I have exhibited in commercial art galleries, solo and group shows, staged popup exhibitions in informal spaces and had work exhibited in curated exhibitions.

7

    8. Other project observations and reflections as they emerge:   As process based exploratory practice, a constant questioning emerges as ,How to present this process that is essentially open-ended as a component of a brief for a competition or commission that could be implicitiy asking for a definitive solution of concept.
       
     

8. Other project observations and reflections as they emerge:

As process based exploratory practice, a constant questioning emerges as ,How to present this process that is essentially open-ended as a component of a brief for a competition or commission that could be implicitiy asking for a definitive solution of concept.

The Temple Veil : Indexing the absent wound
       
     
The Temple Veil : Indexing the absent wound

The open weave transparency of the windmesh offered a porous materiality to the direct painting techniques used to develop the images, referencing paintings discussed in Georges Didi-Huberman’s 1984 essey; ‘Indexing the Absent Wound’

UNVEILING
       
     
UNVEILING
 Footprints of the Temple :Final Outcome
       
     
Footprints of the Temple :Final Outcome

5. Early project planning _budget and schedule notes

The brief calls for a conceptual design capable of translation as a tapestry in an existing architectural setting. The constraints of the site suggest possible scale for the finished tapestry and refer to specific mode of fabrication, working in collaboration with the Australian Tapestry Workshop. There is no specified budget. Therefore, the design development has focused on addressing the conceptual and aesthetic outcome suggested by the brief.

6. Demonstrating capacity and capability _ working with others/ building a team

With 30 years of working in private practice as an Artist/Architect and licensed Builder, I have worked across all stages of project development and delivery. From developing a brief and budget with clients, concept design, design development, council application, and construction documentation and contract administration. Consultant collaboration, (including heritage, environmental and structural and quantity surveying), Local government negotiations and applications, (including Land and Environment court appeals, neighborhood consultations and dispute resolution). Additionally, work as an exhibition officer with the Visual Arts Board, taking traveling exhibitions to rural centers, managing a commercial Gallery and, teaching at tertiary, secondary, primary and adult education have contributed to an understanding of engagement with collaborative work and team building. In parallel to this I have exhibited in commercial art galleries, solo and group shows, staged popup exhibitions in informal spaces and had work exhibited in curated exhibitions.

7. Selection and curation of examples of previous works.

Documentation of previous work is located on the pages of this website:

allendecarteret.com

8. Other project observations and reflections as they emerge:

As process based exploratory practice, a constant questioning emerges as ,How to present this process that is essentially open-ended as a component of a brief for a competition or commission that could be implicitiy asking for a definitive solution of concept.

reference; Turrell, Boullee, Tinguley, Newton, Landscape

‘…..light as a giver of being, through which the monument speaks, and we listen to what it has to say to us in (its) silence.It is an urge to go beyond the realm of form and space, taking the nature within the souls.’

example of anemic script
       
     
example of anemic script

Asemic writing is a wordless open semantic form of writing. The word asemic means "having no specific semantic content," or "without the smallest unit of meaning." With the non-specificity of asemic writing there comes a vacuum of meaning, which is left for the reader to fill in and interpret.- wikipedia

screen-shot-2012-10-31-at-22-04-46.png
       
     
Cenotaph of Issac Newton: Etienne-Louis Boullee
       
     
Cenotaph of Issac Newton: Etienne-Louis Boullee

“… O Newton! With the range of your intelligent and sublime nature of your genius, you have defined the shape

of this earth; I have conceived the idea of enveloping you with your discovery. … How can I find outside you

anything worthy of you? It was these ideas that made me want to make a sepulcher in the shape of the earth. In the

imitation of the Ancients and to pay homage to you I have surrounded it with flowers and cypress trees (… and he

continued with the discussion of the sphere).”

Boullée passionately elaborates on how the space inside the spherical volume would be lit-up during the night

and the day. He also gives minute details of the making of the form within a vast eternal setting of the universe and

the vault of the sky. He also speaks of the form in terms of its physical properties and the dialogue it creates with

human experience.

Boullee drawing
       
     
Boullee drawing
apollo 11 1969
       
     
apollo 11 1969

Overcoming gravity and the Whole Earth Catalogue- community of practice reference

Matta-Clark
       
     
Matta-Clark

community of practice, reference

IMG_4779.jpg
       
     
George Baselitz
       
     
George Baselitz

One of many references for the ‘painterly’

IMG_4780.jpg
       
     
PRIMATIVE HUT
       
     
PRIMATIVE HUT

The Primitive Hut by Marc-Antoine Laugier (1753); as referred in: Kruft (1994).

Enlightenment ideas of the relationship of architecture and Landscape, Nature - culture

120550-1472-25615936418_9cb24ec3c8_k.jpg
       
     
Tinguley
       
     
Tinguley

wall mounted kinetic sculpture-painting

commentranc.jpg
       
     
Chaos_I_at_The_Commons_2011.jpg
       
     
Tinguely45-550x413.jpg
       
     
Tinguely20.jpg
       
     
IMG_4931.jpg
       
     
IMG_5394.jpg
       
     
IMG_5383.jpg
       
     
Windmesh: alternative design,1
       
     
Windmesh: alternative design,1

During design development a number of alternative itterations were developed at 180cmx180cm , employing intuitive hand made gestural brushwork with simple orthogonal geometric structuring.

FOOTPRINTS OF THE TEMPLE B.1 jpg
       
     
Siege
       
     
Siege

Alternative project, nonlinear historical narrative referencing contemporary urban siege at Sydney cafe and war memorial at St Kilda: Key words; slaughter of the innocents; Woman trying to escape a message; flight into Egypt; Pieta; May 3rd: Exercution of Maximillion;

SIEGE OF THE INNOCENTS IMG_4265.JPG
       
     
LINDT P1015314.jpg
       
     
Children of men IMG_3985.JPG
       
     
IMG_3922.JPG
       
     
PIETA IMG_3994.JPG
       
     
P1015256.JPG
       
     
IMG_4757.jpg
       
     
IMG_4783.jpg