critic: Jason PAYNE
suckerPUNCH: Describe your project.
Ryan L. HONG: This house, exteriority and interiority, conceived autonomously from one another, their relationship remains unclear. Their shared proximity to one another should not be mistaken with any assumptions of continuity, indexes and tectonic “responses.”
This Strange relationship should not be mistaken for a complexity born of contradiction, for in that case competing elements rely on the comparison of their differences to achieve coherence, however uncomfortable it might be. The ambivalent relationship has no such secret desire to celebrate contrast or revel in the naked juxtaposition of incongruity. Instead, the prefix “ambi-” suggests objects that are both (plural) and around (each other,) but not necessarily up to anything more than that. If organizations born of contradiction are like marriages between partners of conflicting traits, ambivalent objects are more like strangers sharing a park bench. — Jason PAYNE
Articulation occurs at certain moments of the alternate and nested exteriorities along the outer most surface. This onion like layering reveals its multiple exteriors with a scalar logic.
The moments of exterior blackness are not so much to do with light but more produced by a timid boundary condition that suggests the anti-finite.
The exteriorities of 433 Eros’ clone—(this asteroid and in addition, the nested clones there within) which I have named 433 Cupid are self referential conditions. These nested conditions suggest a cyclical infinite nature through repetition and pattern recognition.
The interior exhibits a concentration of materiality, orientational disjunction and an uncanny layering.
The interiority developed surface drawing captures a particular stage in the physical process of physically unfolding the surface, similar to that of its dynamic material properties. The developed surface of these curtains become those that define the interiority, conventionally these are walls.
Touching From a Distance
Curtain as poche: an ambivalent arbitrator
In order for the square footage of the plan to be more familiar with a domestic scale, the exterior had to be enlarged, thus the outer surface area is much greater than the floor area.
The floor plate is not a direct offset of the exterior but constrained by its exterior while asserting its own proportion and scale within its given boundaries.
Similar to that of a curtain’s estrangement to a fixed position, vector stippling communicates ambivalence as it lacks the commitment of a solid line.
The curtain mediates the exteriority and interiority relationship and tangency. Not as a neutral object but as an ambivalent arbitrator.
The curtain is fixed or pinned tangent to the exterior’s geometry yet takes on an amorphous disproportionate draping creating its own interior perimeter different to that of the exterior. This is the same technique used to determine the floor plan.
The poche, typically a residual space, now a place of synchronic ambiguities—which is described by the relation of events of a particular or existing time, without referencing historical context. In this case it is the realm between the geometrically complex interior and exterior. Conventionally un-occupiable, the epoche’s material uniqueness allows a homogenous continuity as a poche, curtain, bed drape and floor. The curtain does not separate the interior and the exterior but joins them. The synchronic ambiguity also describes the representational stippling between the line drawing and render.
sP: What or who influenced this project?
RH: Jason Payne, Payne research studio classmates, Graham Harmon, Moon (2009), Lost Highway (1997).
sP: What were you reading/listening to/watching while developing this project?
RH: The Quadruple Object, Returning to (Strange) Objects, Guy Ritchie films, Exitmusic.
sP: Whose work is currently on your radar?
RH: Jason Payne, Metabolism, Greg Lynn, Tom Wiscombe, David Choe.