The gallery is hosting Deegan-Day Design’s, Blow X Blow is clever usage of a gallery space that in the past has felt forced and fallen under the umbrella of “art for art’s sake,” I’m looking at you Greg Lynn. I won’t go on further because they were kind enough to make the movie above, painful elevator music and all, that does a fantastic job of breaking down the reasoning behind it looks the way it looks. But, I have to mention that structurally the piece is well put together. They used soft plastic bee-hive panels, for lightness and rigidity, and joined them thin clear acrylic fins, after the break a close up photos, lastly the vertical posts that support the projection screens double as supports for the whole structure. Smart problem solving and materials choices all around.
Up the stairs and around the corner from the gallery is where you will find, Drawing as Thoughts the work of Jean-Pierre Hebert. I really wasn’t thrilled with the majority of the pieces in this show. An example being the last image after the jump, but the ones I did like were striking. Hebert, uses algorithms and texts that he considers important and enters them into a computer to create a one off piece of work not knowing for sure what will the outcome will be.
It’s a great idea and sometimes the results are mind-bending but more-over his vibe is just a little too “new-age” for me. Reminded me of walking around Laguna Beach a sunny day, only no Taco Loco. I just gravitate towards simple, stark patterns rather than that flat fuzzy images that over-complicating the formulas would yield. It’s still worth checking out but his website is more interesting to be honest.
I have never seen a description of anything architectural more concise than this, especially about “scripting.” Look up scripting and the you’ll see where the term “archy-speak,”came from…
“Blow x Blow stages a bout between two trends in exhibition: the claiming of gallery space by architects, and the ceding of that space to the ambient possibilities of new media. To chart this collision, techniques of cinematic projection and scripting are repurposed to spur new orders of spatial and structural sequencing, and new environments for communing with new art.
In the SCI-Arc Gallery, the initial ‘bounce-line’ scripting, in which a single projection-based vector was allowed to rebound ad infinitum through the space of the gallery, evolved in two more disciplined directions. First, the space of the gallery was reconceived as a 6’x7’x8’ gridded frame, the proportions of which allow a 4:3 televisual image on one face, and a 9:16 cinematic aspect ration on the diagonal. Within this matrix, a randomized 16-part vector path was developed, in which each third vector point was triangulated back to its origin to create a continuous, facetted surface. A ‘braid’ of two of these paths supports two dual-screen projection areas. Rather than simply blacking out the gallery, the spanning surfaces of the vectorpaths create a ‘grey room’ condition in which viewers may see each other, but projected images are shaded from clerestory exposure.”
P.S. The openings at Sci-Arc and their lectures are less than stellar to be honest with you. Go on an off day my friends.
