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  • changing room

    changing roomy
    new york NEW YORK

    suckerPUNCH: describe your project.

    EASTON + COMBS: CHANGING ROOM is a mirage of the intimate in the realm of the public. As the daydream is to daily life, a momentary slippage that can re-qualify the onslaught of a quotidian continuum, so too is the CHANGING ROOM to the urban field.

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    CHANGING ROOM redefines boundaries and expected conditions of intimacy while transforming into a subtle spectacle of the expectations and boundaries of intimate experience in the public realm. Expressed as a structural and material veil and suspended from above, the lightweight structural skin dilates along the bottom edge creating oblique visual corridors to the interior as well as passages for the body to move through. The skin culminates in an undulating skirt edge suspended above the surface of the gallery floor. Like a closet of two way mirrors, the limit and perception of the interior belies the condition of transparency and spectacle from the exterior.

    Situated in the context of the gallery, this installation proposes it’s oscillating redefinitions of the intimate and the public as an experimental architectural expression. The psychological conditions associated with transparency, reflectivity, illumina-tion and lightness intersect with their material expression in a lightweight semitransparent dichroic polycarbonate surface. This surface is the temporary veil that creates the ambient conditions of CHANGING ROOM. At the same time the surface is organized by the textile and tectonic logic of a herringbone weave to perform as a structural skin shell and create faceted surface conditions that allow for maximum visual dichroic and transparent effects.

    sP: what or who influenced this project?

    E+C: This project represents a new stage in some of our recent research into lightweight structural skin sys-tems. Where the PS1 and it’s siblings were implying a surface through rhythmic structural and ordering mem-bers, this project focuses on the implied rhythm becoming physical and performing as both an idea about skin and structure simultaneously. The color effects, the transparency, and the material tactility all work together to suggest something quite supple while maintaining an encrusted shell, sort of being both soft and crystalline at the same time. In terms of influence in the sense of inspiration, I’m sure it would be a long list, but in this particular case the gallery director, Paula Palombo from the Extension Gallery in Chicago has offered real encouragement for us to develop our ideas further and to focus the research towards specific states of heightened spatial and atmospheric effects.

    sP: what were you reading/listening to/watching while developing this project?

    E+C: We have been listing to Autechre for two decades. We are interested in how their work embodies the 1950’s early electroacoustical music and becomes an evolution of the history of electronically produced music from the 20th century. There is allot of exciting work in this area, but over time very few have shown a kind of precision and awareness of the artistic precedents to their work.

    sP: whose work is currently on your radar?

    E+C: Again, Autechre’s musical anthology has been a point of departure. We are interested in the relationship between the rhythm, order, structure, layering, intensities of musical space as a kind of material expression. The surface precision and the experiential emersion of this object correlates to these interests very closely.

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