FOOTPRINTS OF THE TEMPLE
       
     
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EXPERIMENTATION:ITERATIVE STUDIO PROCESS
       
     
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PROCESS IMAGE :WINDMESH
       
     
PROCESS IMAGE :WINDMESH
       
     
THE CURTAIN AND THE ABSENT WOUND
       
     
INDEX OF THE ABSENT WOUND
       
     
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TEMPLE IN THE WILDERNESS: POP UP
       
     
TEMPLE IN THE WILDERNESS: POP UP BY THE BITUMEN RIVER
       
     
TEMPLE IN THE WILDERNESS: POP UP
       
     
SITE VISITORS TAKING A SELFIE
       
     
FOOTPRINTS OF THE TEMPLE
       
     
FOOTPRINTS OF THE TEMPLE

‘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.

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 involved.

FOOTPRINTS OF THE TEMPLE
       
     
FOOTPRINTS OF THE TEMPLE

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.

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.

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. 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.

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.

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.

EXPERIMENTATION:ITERATIVE STUDIO PROCESS
       
     
EXPERIMENTATION:ITERATIVE STUDIO PROCESS

Multiple Image galleries journal experimentation in the studio

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EXPERIMENTATION:ITERATIVE STUDIO PROCESS
PROCESS IMAGE :WINDMESH
       
     
PROCESS IMAGE :WINDMESH
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PROCESS IMAGE :WINDMESH

Multiple Image galleries journal experimentation in the studio

THE CURTAIN AND THE ABSENT WOUND
       
     
THE CURTAIN AND THE ABSENT WOUND

Multiple Image galleries journal experimentation in the studio

Process image: Itérative documentation: experimentation with the wall as part if the image within a performative process.

Didi-Huberman, G. and Repensek, T., 1984. The index of the absent wound (monograph on a stain). October, 29, pp.63-81

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INDEX OF THE ABSENT WOUND

Trace of wind mesh painting remains on the wall as echo establishes its own identity as a visual document capable of transmitting affective information as part of the fabric of the building rather than a separate, detached surface.

Didi-Huberman, G. and Repensek, T., 1984. The index of the absent wound (monograph on a stain). October, 29, pp.63-81

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PROCESS IMAGE :WINDMESH
       
     
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Multiple iterations, drawing, collage , bricolage, painting.

reclaimed ,found fabric with remnants of text, experiments with simple geometric formulations, mark making, and painterly applications to open weave ground.

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Residual trace from wind mesh painting used as seed for another ‘call and response’ improvisation, painting as found object reimaged with collaged text and layering of stencilled and direct painting.

Emerging imagery as palimpsest,skin…

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TEMPLE IN THE WILDERNESS: POP UP
       
     
TEMPLE IN THE WILDERNESS: POP UP

Victoria Street Intervention.

TEMPLE IN THE WILDERNESS: POP UP BY THE BITUMEN RIVER
       
     
TEMPLE IN THE WILDERNESS: POP UP BY THE BITUMEN RIVER
TEMPLE IN THE WILDERNESS: POP UP
       
     
TEMPLE IN THE WILDERNESS: POP UP
SITE VISITORS TAKING A SELFIE
       
     
SITE VISITORS TAKING A SELFIE