each bee sting is a severe shock, the minds grows alert but the
speech often becomes poor is the first part of a three-part body of
work investigating non-standards in architecture, through the
partial reconstruction of three buildings.
At the centre of this work is the house built 1953 in New Zealand by Roy Brewster, a bee keeper and hobbyist. While the beekeper’s house was built in the same period than icons of modern architecture in Europe and the American continent (Lina Bo Bardi in Brazil, or the Case Study Houses in Los Angeles), it still remained fully excluded from the then dominating architectural discourse. Based on hexagons, the house was built to be later destroyed by Brewster himself and has never been put back together. The material and architectural translations of a life philosophy and societal patterns, together with notions of amateurism and utopia and their formal translations in objects and artifacts build here the core of my interest.
The second chapter will take place in October 2018 in the format of a solo exhibition and will look at the self-cleaning house of France Gabes. The dichotomies center – periphery, perfection
– failure, standard – non-standards that are at the core of this artistic observation create the terrain for my artistic work together with the question on how ignored and non-fitting works of architecture could inform architectural historiography. More info here
At the centre of this work is the house built 1953 in New Zealand by Roy Brewster, a bee keeper and hobbyist. While the beekeper’s house was built in the same period than icons of modern architecture in Europe and the American continent (Lina Bo Bardi in Brazil, or the Case Study Houses in Los Angeles), it still remained fully excluded from the then dominating architectural discourse. Based on hexagons, the house was built to be later destroyed by Brewster himself and has never been put back together. The material and architectural translations of a life philosophy and societal patterns, together with notions of amateurism and utopia and their formal translations in objects and artifacts build here the core of my interest.
The second chapter will take place in October 2018 in the format of a solo exhibition and will look at the self-cleaning house of France Gabes. The dichotomies center – periphery, perfection
– failure, standard – non-standards that are at the core of this artistic observation create the terrain for my artistic work together with the question on how ignored and non-fitting works of architecture could inform architectural historiography. More info here
each bee sting is a severe shock, the mind grows alert,
but the speech often becomes poor
2018
burnt wood, lamé, plaster, watercolors; dimension variable
Installation View: Group Show “Secondary Forensic Distressed Desires” at Galerie Petra Rinck, Düsseldorf
Photo credits: Achim Kukulies
Work exhibited at:
Galerie Petra Rinck, Düsseldorf, 2018
Broken Dimanche Press, Berlin, 2018
2018
burnt wood, lamé, plaster, watercolors; dimension variable
Installation View: Group Show “Secondary Forensic Distressed Desires” at Galerie Petra Rinck, Düsseldorf
Photo credits: Achim Kukulies
Work exhibited at:
Galerie Petra Rinck, Düsseldorf, 2018
Broken Dimanche Press, Berlin, 2018
