“The inner gap is a mould between two outsides - it is a space of transformation...The tear in the descriptive-conceptual tissue is...both a gap and a place, but more important it is a locus of transit, like a tunnel between two worlds.” L. Lerup, 2000
The installation explores the notion of transcendence and the process of transformation between the inside and the outside. In this work the experience of the body in the space becomes crucial. “The gaze implies an unconscious touch...visual apprehension of materiality, distance and spatial depth would not be possible at all without the cooperation of the haptic memory...vision reveals what the touch already knows. We could think of the sense of touch as the unconscious of vision” (Pallasmaa, 2005). I am interested in the ways of exploring the in-between space with the help of senses and unconscious memory that lets us imagine the space according to our previous experiences. The space of transformation is imprisoned between outside and inside and the installation makes an attempt to form its perception with the help of natural light passing through the interstitials in multilayered space.
The Holy Trinity Church, which is one of the building situated next to the Regent's Place. It was build in 1826 - 27 after the project by Sir John Soane, a British Architect, who is considered as a “master of space and light”. The notion that became a connection with the installation is the effect of the light that enters the space from one point and then arrays into various directions through holes and interstitial spaces. These qualities are typical for domes in spiritual architecture, so in the research I refer to St. Paul's Cathedral, which was designed by Christopher Wren. I investigate the qualities of light in the space of a dome. The scaled and dematerialized from its usual heavy substance section of the dome lets one to experience the unseen space in-between the opposites. I explore the qualities of light in the “inexperienced” spaces of the domes that were never build. In my method I project the vertical traces of light wells and windows of the designed domes onto the one chosen and build. I believe that by this layering the inside and the outside go through a transformation , while the space in-between stays untouched as none of the previously suggested domes had it so it can't be influenced. Nevertheless, our perception of the in-between space changes because of the light affecting it. The colour fades away depending on the age of the design and sequence.
The series of objects are to be placed near 2 and 3 Triton Square next to the fountain. The structure of each of them consists of the rigid metal construction, which serves as a basis or wax slabs. The choice of working with wax is determined by the effect of translucency that lets the viewer to experience the space behind what is seen by the eye. The construction consists of 3 metal plates and steel rods. Each of the objects stands on 3 feet which are fixed under the slabs. The wax slabs are slipped onto the rods. There is a metal plate holding the rods together between the 2nd and 3d rows.
Section 1. Scale 1:10
Front View. Construction. Scale 1:10
Section 1
Mrrored Bottom View. Scale 1:10
Metal construction for each (by Sheetfabs)
1060 £
Wax and pgments for each
580 £
Price for one object
1640 £
Price for the installation
4920 £
All prices are negotiable.
Anna Mokhova MA Interior and Spatial Design Chelsea College of Art and Design +44 (020) 07884232899 Anna.Mokhova1@gmail.com