Recent artworks, produced on the MA, look at how we think about, and develop relationships with buildings before they exist, focusing on shifting sites of construction. With these areas of flux, in the forming of structures, there are existing potential gaps such spaces might offer us to probe, finding somthing new.
This fascination in construction has extended into imagery used in architectureand its use to proposes structures before being completed, yet, it is a resolved vision, certain in its final form and unchanging, often expressed in computer rendered images.
This speculative CGI suggest idelised spaces showing the future in the present, yet often act as a tool of commodity, playing with expectations, in the surroundings of Londons gentrifed landscape, jarring with wider social concerns around housing. My practice attempts to not only question such images' intended associations but look at methods and spaces of this creation and its visual consumption.
This dichotomy and frictions in such utopic architecture envisioning, has led to creating pieces that reference both photography, and construction. Forms emerging into architectural space, offering a fluid possibility, and a tactility. Such works are fragile yet messy, hard to define but solid, still and active. The resulting artworks sit somewhere between the image and sculpture, in an attempt to bring another way to visualising the new or unfinished building, one that is a counterpoint to the formulaic language of the render.
The use of materials and their limits have informed my work during the program. I wanted to create a more physical relationship both in the creation of works and our relationship to thephotographic, by seeing the image as object, expanding from a two dimensional object and removing it from the wall. In liberating such images from intended use, often a shimmering digital surface into a tactile one, it shares the same space as us, allowing for a relationship to be formed with it, for it to be interrogation and have a presence in the here and now.
Image Credit: Melanie Issaka
