Building with Bamboo

Bamboo and natural materials are often used in developing countries to alleviate housing, infrastructure problems and lowering pollution. Only certain species suitable for building with. Growing in abundance, controlling water cycles, reducing erosion. Steel substitute, holding weight and bending to conform to structures with loading slats under torsion and bending. Effective experimental investigation of bamboo and concrete, questioning marital agreement with other materials. Tied and twisted together to create intricate and solid structures.

Alicja Kwade

Kwade uses large scale sculpture to reflect on time, perception, and scientific inquiry. Powder-coated steel and polished stones create a questionable universe filled with angles, weightlessness and questions. The large scale sculptures seem to have no way of balancing, yet they hold still on rooftops and in galleries, and battle the elements. Within the steel sculptures, there is the possibility of movement through the fanned out spacing, creating a new scientific element.

Part of these works is a careful composition, for the stone is large enough that it is not lost in the steel, and the steel is strong enough to hold the large balls of stone. The other part of the works is the balance between the the materials, ensuring that they are stable in their position, as well as in their individual element.

Time seems to stop still when viewing these artworks, for they themselves are a moment of it. Perception of the world, the universe and science changes for you appear to view another side of it. Science it all at the heart of it.

Percolate

Size: NA
Date: December 2019
Medium: Bamboo, plaster, jesmonite, twine, electrical tape, nails

Balancing, Holding, Relating. A focus on materiality and construction with the every day. Gravity, tension and a harmony amongst opposition is taken into account through the interaction with the environment.

Percolate is there to make you think differently about the building; perhaps in the way you physically interact with it, showcasing the smaller forgotten elements and details hidden in each of the rooms of the unique building, or what the building is and how we view it.

Through the use of sculpture, natural and modern building materials, Abraham is able to consider her own application of simplicity and tension.

Tony Smith

Tony Smith began his career through Minimalism, working with architecture and painting. His work soon turned to monolithic, system-based sculpture that was based on intuition. Throughout his work is an interest in repetition and multiplication of the visual and physical world.

Smith was not constrained by the boundaries of medium, which was seen through his transition from architecture to art and realising his creative principles. The development of his works throughout the career can be traced back to the natural and human universes of repetition and multiplication. There is a presence of his works, no matter the compositional technique used nor the angles of the repeating forms.

Marie Lund

The sculptor Marie Lund works with stone and metal work to create intimate, self-contained works that involve some of the every day. The works often frame a number of temporal and material concerns due to their hanging, leaning or swinging composition.

Working between the lines of beauty and dysfunction (as well as function), Lund deals with the specific site and moments of every-day life, re-establishing the relationship to solid matter. The works make their remark against disposable consumer products through casting.

Lund work reflects the texts and audio pieces that she is currently interesting. There a dual in/ability to express materiality and physicality through language that forces Lund to remain in the sculptural. This is particularly seem in the series of ‘Beginning Happening’, 2011 and the accompanying catalogue with reflecting text by Pieternel Vermoortel:

‘What happens when we consider sculptures through their representation, when we can’t walk around them, when we can only look at them from one possible position? […] And what happens if I write about these sculptures, can I still speak about spatiality and time?’

Karl Rittenbach, Frieze, Nov-Dec 2011 Issue

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