Utopian Architecture

Utopian architecture holds its principle that brings nature into every aspect of urban life to help cities become more dense while lessening the human impact on the environment.

This term has often been applied when talking about post-war periods to build up cities and jobs, without largely impacting the environment. The advancement of architecture is thanks to strong economic growth, advances in technology, and new forms of social behaviour.

Anthony Caro

Caro uses found industrial objects that engage the spectator on a one-to-one basis. Using various bright colours, the sculptures confront the spectator into conversation, displaying a radical departure from previous sculpture works of the generation. There is no recorded reason for the colours used in specific instances, however each colour of the works is unique. Caro often worked in steel, but also in a diverse range of other materials, including bronze, silver, lead, stoneware, wood and paper. The exploration of each material is portrayed in the larger sculptural works within the manipulation of curves and folds that might otherwise seem impossible.

Martin Puryear

Puryear is recognised for a fiercely independent visual language of object making. There is a strong combination of practices adapted from different traditions to create objects based on abstract organic forms with rich psychological, cultural, and historical references. Wood carving, joinery, boat building and technology are just some of the practices involved within the design and creation of such works.

Puryear’s reductive forms explore human and identity and politics in a subtle manner, engaging the viewers in conversation. Hand-making each of the sculptures allows the craftsmanship to shine through and allows an intense appreciation of the natural materials he chooses to use. ‘The artist’s approach to his materials, his ability to use them to define both interior and exterior spaces, along with his inherent sensibility, all combine to produce profoundly considered works, infused not only with poignancy, strength and fragility, but also with subliminal readings of out collective history.’


Date: October 2019
Size: Varying
Material: Plaster

Everyday lost details and elements taken for granted, cast in between the lines of beauty and dys/function. Continually invisible in plaster. Increased character of material, detracting meaning and adding crevices.

Enkindle Cube

Date: October 2019
Size: Varying
Material: Natural wood matchsticks, super glue

The act of balancing simple shapes – the sense that nothing is holding them up except for themselves. Using gravity, tension, and structure of architecture, balancing cubes on their corners or using the tension to hold them at angles. Repetition, multiplication and relationship.

Natasha Perova

Perova explores the relationship between the materials of the everyday and of smooth construction. The often fragile nature of some of the materials she uses such as newspaper or pillows, can be found squished, folded and rolled between smooth dark blocks. The juxtaposition between these elements can be confusing, but present an alternative nature of the materials. The pillows can be deemed as strong, for they are used daily and keep their form, whereas the blocks can be seem as malleable like paper.

Tulio Pinto

Pinto is interested in all contingent, changeable, and temporary materials within sculptures that establish tensions and defy gravity and balance. Translated into the sculpture is his feelings on the world that pulses around him as well as human relations. The materials oppose each other to form that unknowing relation as well as a shifting and utopic territory of harmony among opposition.

The sculptures that Pinto creates gives a breath, surrounded and immersed, into heavy living structures. Continually breathing into his works, Pinto moved into enlargement and heavier materials to include blown glass, steel cables and wood blocks. There is a trust and faithful nature in each of the materials picked. Accidents are used within the piece, with the abyss becoming a fascination. ‘Risk and chance are elements in my work, in the same way that they are present in our lives. If we pay attention, they show us the way’.

The unstable balance made of opposing dualities allowed the incorporation of a third element: the insertion of the architectonic space. This allowed Pinto to use gravity and the tension and structure of the architecture to create his pieces. He does not sculpt or use tools within his pieces, but rather obtains and transforms to establish the unstable interaction.

Pinto is also interested in exploring materials that move between the forms of solid and liquid. The dynamic forms of materials add to the poetry behind each of his balancing works.

‘Fear instigates and defies me. It fascinated me like an abyss. I need to get to the edge and look down to see how deep and risky it is. The abyss appears when the material shows its potential, which is sometimes unknown, and we only discover such potential when we use the material in a different way, creating a tangent, a space for the unforseen.’

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