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Contextual Folds

Part 1 Project 2001
Christian Parr
University of Greenwich | UK
A neutral layer of staining occurs, penetrating the soil beneath it. This indicates a tempered suspension failure.
Isolated particles of circular constants begin to bank heavily to the left, transferring the mass increasingly earthbound.
A weak injection of insulted vacancies escape the rapidly increased level of packing fluid, causing a centre to centre polymer discharge.

The liquid landscape (water) plays itself as a system, where the built environment (my drawings) become immeresed into a condition where they are determined by the derelict urban landscape.
Bending, refracting light become the systems for, scale,location and the continuous relocation of the viewers viewpoint, by using abstract texts as metaphors for the creation of realtime, movable events - whereby the object can appear distorted.

Seeing the site as material, loose, flexible and having the ability to twist, fold and flex its muscles around the built environment, meant a series of fabric landscapes were necessary, acting as metaphors for our own natural landscapes.

My drawings are representative of technologicial advances in respect of their status in 20th century culture (see programme 1a), applying this criteria places my drawings into a position where they become either recessive/dominant over the landscape and consequently begin their compression/expansion qualities.

Twisting, bending my structure (the unknown) as a reaction to light,the internal skin starts to take effect, and in time begins to take in the fabric landscape as a rendered outer skin, this completes the journey from the built environment being only metaphorically placed into the landscape to being literally placed there.

Christian Parr

Langobs & obsits

Architecture removes the skin of language with transparent agencies.

Emergence and transience drift in an objectless site.

Semantic bridges become the melted smouldering carcasses of objects.

A number of trajectories are set in motion carried by streams of notation designating sites between language and image,between zero and one the inquiry focusses on the problem of objects and locations.

A series of philosophical propositions become fluid as the set up programme melts into the site as simultaneous object drawing.the object being the location of the inquiry.

The final drawings become isotropic carcasses.

The bones of future flesh become iron drawings.

The open question that collected this student's energy was one of a fragmented technology turned inside-out to make a new ripple. From an immense archaeology of observation with earlier mediations on Matta-Clarke and Rachel Whiteread the exploration of language emerged. A frighteningly exciting student - we had no idea what he was going to produce next.

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