René Descartes viewed as beautiful the order and coherency of structures designed by a single architect; the purpose of the Archisculpture Photo Project, however, is to create architectural sculptures by collaging photographs of diverse architectural works from various architects. In this way, Archisculpture Photos are both similar and different to the organic romanticism of old cities built through the works of myriad architects, for they represent the artist’s subjective interpretation and decisions regarding various architects’ numerous designs. If a photograph has a “punctum,” then clearly the architectural works used here will in certain ways be the artist’s “punctum” and their assemblage the Archisculpture Photo. These works may also locate and bring together structures with political, economic, or social significance, creating through the work’s “studium” the illusion of a metropolis. Like collectors who arrange and classify their acquisitions with great care, artists analyze selected city fragments gathered from here and there and with them create their sculptures. What exist now as disparate structures are reborn as beautiful sculptures which retain their diachronic or synchronic histories, or else encompass it all. As Russian film director Sergei Mikhailovich Eisenstein explained in relation to the montage technique, the collaging employed in this process creates through the collision of disparate elements stories that before remained beneath the surface. In essence, however, it is a photograph of a nonexistent, architectural sculpture.
Archisculpture 056(Bristol in the UK, Red Nose Day), 2020. archival pigment print, 100×70 or 171x120cm
Total edition of only 2, regardless of colour and size. no AP.