Porcelain

Rachel Kneebone’s finely sculpted porcelain works erupt with a bacchanal of contorted bodies, limbs and slumped phallic tendrils that emerge from amorphous properties of the material. Sharing the characteristics of Hellenistic sculpture, Kneebone retains the purity of the glazed white surface while the tonal chiaroscuro enhances the intricately modeled ruptures and crevices that inject this conventional material with a sensual physicality and unique energy.

Inspired by Ovid’s great poem ‘Metamorphosis’ where humans migrate into a myriad of forms, Kneebone depicts an erotic state of flux, suspended mid-transition, divulging part figurative and fragmentary motifs. Kneebone’s eclectic vision relishes in the angst of both Greek tragedies and Bernini, the hybrid creatures of Bosch, and the ‘erotic gaze’ of Batialle and Bellmer. A more direct comparison is with the eighteenth century Meissen porcelain tableaux, some of which were copied from idyllic pastoral paintings and odalisques by Watteau and Boucher. Yet Kneebone manages to decant all these influences into her own highly distinct rhetoric, celebrating forms of transgression, beauty and seduction.

Dream of Venus

BusterKeaton, Marcel Duchamp, Joseph Cornell and Alberto Giacometti all made play a component of the surreal house. Dali took this playfulness one step further, creating an amusement hall that was the first and perhaps only—until now, that is –dwelling actually conceived as a surrealist house. His dream of Venus pavilion for the New York World’s Fair of 1939 has long been overlooked; indeed for many years it was written off as being in the worst possible taste. Only recently recuperate in the post-Warholian era of excess and transgression, Dali’s funhouse transforms systematic confusion into carnival.

Combines

The next step, after taking apart of all internal elements in architecture is to recombine these pieces. One reason to combine these fragment elements together is try to blur the boundary of definition in architecture. For instance, most works of the American pop artist Robert Rauschenberg are called “Combines.” Rauschenberg's Combines imitate the arbitrary accumulations of objects to be found in museum collections. Positioned between the culture of the mass media and the museum, the Combines point towards the massive information that makes our experience in everyday life. Rauschenberg's work repeatedly pulls the realms of art and the everyday into close proximity, yet we must recall that he attempts "to act in the gap between the two." In many ways the viewer is placed in that gap, a space in between the cast-off commodities of yesterday and the high art to be preserved for posterity . However, the meaning of a process combined with different architectural elements could also seem to blur the definition boundary; all opposite definition such as: interior and exterior, modern and classical, pass and present, breakdown through recombination. The observers, also as viewers, become breakers who watch or pass through them.

Micromages

There is a similarity here between the mechanical aspect of the car that can relate to Micromages a series of drawing describes Daniel Libeskind’s ideal that takes part the forms of architecture and filters these elements to the purely geometry precise. In his drawings, looking as though they might have been visual texts produced by the machines; they depict a new and ambiguous spatial world emerging from an older, familiar one of architectural form and representation. In his book, “this is presentation, but always according to the mode of imperfection; an internal play in which deferred completeness is united with mobilized openness.” Via the process of purifying, people can reconsider objects with no-conceptual experience that is the source of programs, forms, and responses that were here explored. Imagination, in outpacing this experience, provides alternative solutions to problems without defining architecture. Therefore, the definition of internal architecture would be explored and redefined it.

Breakdown

How to take apart the images or objects of internal architecture and obtain these elements are also important to this project. The processes of art exhibition “Breakdown” (Figure 18) in 2001 in London could provide a similar way to take apart components inside of architecture. Although Michael Landy, the artist of this exhibition, focused on the core ideal that the meaning of consuming, the way he catalogued, defined, and re-organised all his properties in his 33 years life (7,227 items) is another big issue in his work. Before breakdown all his properties, he have to classify different items, take apart of them, and reorganised the fragments. The whole process reverses the way of production, and purifies the daily objects in the real world. Therefore, every interior images, items, and decorations belong to historical buildings in London could be take apart through this same process, which is like the mechanical operation beneath these buildings.

The Mysterious Explorations of Jasper Morello

London the Factory

Untitled from Weily on Vimeo.