Building

1949-1955: Hunstanton School and the Photography of Life and Art.

How to get to Bacon to building?  I'm attracted to The Tate's current exhibit on The Hunstanton School, an architectural exhibit displaying the process of collaboration between sculptor Eduardo Paolozzi, photographer Nigel Henderson and architects Alison and Peter Smithson to create, Parallel of Life and Art, an exhibition at the ICA.  There is something reflective of my own work in these images, an absence of person within structures built for occupation, for purpose of human use.  The images shown are of a school, the abject enters our senses in the unnameable jarring of a school without children, without teachers, without objects of use.  

          
How then does this collaboration relate to my own practice?  It relates in the way that it is concerned with the transient place.  Not in the way of a place where people wait, in the liminal, like the Hotel or the airport, but in the way that these are places waiting for something of their own.  To be fulfilled with the use of their design and intention.  Also in the way that the large scale photographs move across the wall, across the space and drift into to distant when encountering the crease where to walls meet, the place in the wall which does not serve the purpose of wall, especially in terms of the white cube.  The creases in the wall belong to Derrida's undecidables, both supplementary and absent of purpose simultaneously.  Perhaps this is something that could be useful to think about during my practice.  I'm told this process of the film moving into the distance at a certain point in this way is called a squeeze, or a grab, I need to look this up.