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 architectures from various architects. Therefore, ARCHISCULPTURE is both similar and different to the organic romanticism of ancient cities built through the works of numerous architects, for they represent the artist’s subjective interpretation and selection regarding various architects’ numerous designs. If there is the ‘punctum’ in photography then clearly architectures used here will in a certain way be the artist’s ‘punctum’ and their assemblage will be the ARCHISCULPTURE. This work may also locate and bring together structures with political, economic, or social significance, so viewers may feel the illusion of a metropolis through the ‘studium’. Like collectors who arrange and classify their acquisitions with great care, the artist analyses selected city fragments gathered from here and there and creates sculptures with them. At this time, collaged architectures in the work are reborn as one beautiful sculpture retaining architectures’ diachronic or synchronic histories or encompassing all. As Russian film director Sergei Mikhailovich Eisenstein explained in relation to the montage technique, meanings that did not exist in each scene are newly created in the edited and interconnected whole. The collaging employed in the process of making ARCHISCULPTURE also creates new meanings that have not been read in individual architectures while combining multiple buildings. However, in any case, if we look at the work as it is, this work is a non-existent sculpture work with an architectural appearance, and the photograph that seems to have taken it is ARCHISCULPTURE.
