I came upon the idea for Constructions as I rode my bike to work and thought about an image I had taken on Monday of this week (previous post) . As soon as I arrived at work and locked my bike up I started thinking about it more seriously. I’d originally thought I’d call it Found, Constructions is a much more engaging and applicable term. I’ve been thinking about it all week now. It’s morphed into thought and imaginings revolving around Nuit Blanche 2013.

I’d like to suggest a Chris Shepherdly-simple curatorial thematic for the all night extravaganza next year. “Constructions” would incorporate ideas of discovery, luck, happenstance, searching, loss, misplacing, inspiration, building, representation, illusion, labour, etc. In a perfect world I could submit the theme, curate a zone, and research and perform a piece.

I’ll work on creating a curatorial statement.

The piece itself would bring together the majority of my focused concepts. A combination of Vacancy, The Task, The Clock, Waiting, Transitions, etc. It would be performance, sculpture and photography based.

For “Constructions” I would seek out existing building sites in several Nuit Blanche zones, get access to them and then rearrange / move elements of those locations. In the same way I moved the cinder block in The Task

Each site would have an imaginary Visual Frame of reference attached to some specific location on the periphery of the site. The optimal vantage point from where the piece is intended to be viewed. I would build a sculpture with pipes, blocks, pallets, etc. so that when viewed from that reference point — at a certain angle and dimension– the composition would be optimally represented. I’ve also toyed with the idea of making the “new ” compositions reference famous painting.

Effort – This is an adaptation of the above. In this variation of Constructions I would remove the complicated and somewhat overused reference to painting history and concentrate on more on the nature of effort and the dynamics of “appearance”. In a construction site with various piles of material I’d take a photograph. Then manually I would move the material until a mirror image of it’s original location and layout was achieved. It would then be physically flipped. At this point I take another photo. In Photoshop flip the original photograph. The two “twin” photographs would hang side by side as a diptych. The result should be two identical or at least very similar images but each would have a completely different meaning.

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