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| PAUL CARTER |
Imp’: Replace word ‘models’ with ‘Constructions’
Fiction and metaphor, Limits of possibilities of expansion and contraction in architecture and its use.
Limits of in figure in architecture
Limits of objects in architecture
Possible spaces
Metaphoric spaces
Proposal is to build a construction
Practice involves expanding and contracting, constructing and sculpting within models and actual architecture.
Imaginary impossibilities
Limits of metaphor, possibilities of movement
Activities of this place
Fiction of blowing the walls apart
Expansion , contraction and friction
Model constructions incorporating lift and lift shaft placed next to life size lift with opening and closing doors.
Movement, inertia
Lift potential of movement within architecture to other levels but in this instance not immediately accessible. Models
suggesting imaginary possibilities
shaft
deposits
‘Window Seat’ window work seat bed, window work seat bed placed in lift
House clearance
Relocation
Interests lie with the potential of immersion within constructed spaces and the referencing of something outside,
elsewhere.
Traversing architectural thresholds and the possibilities of movement in and out, physically and metaphorically.
Expanding, contracting, forming, sculpting with models through architecture.
Replace word ‘models’ with ‘Constructions’
Fiction and metaphor, Limits of possibilities of expansion and contraction in architecture and its use.
Limits of in figure in architecture
Limits of objects in architecture
Possible spaces
Metaphoric spaces
Proposal is to build a construction
Practice involves expanding and contracting, constructing and sculpting within models and actual architecture.
Imaginary impossibilities
Limits of metaphor, possibilities of movement
Activities of this place
Fiction of blowing the walls apart
Expansion , contraction and friction
Model constructions incorporating lift and lift shaft placed next to life size lift with opening and closing doors.
Movement, inertia
Lift potential of movement within architecture to other levels but in this instance not immediately accessible. Models
suggesting imaginary possibilities
shaft
deposits
‘Window Seat’ window work seat bed, window work seat bed placed in lift
House clearance
Relocation
Interests lie with the potential of immersion within constructed spaces and the referencing of something outside,
elsewhere.
Traversing architectural thresholds and the possibilities of movement in and out, physically and metaphorically.
Expanding, contracting, forming, sculpting with models through architecture.
Replace word ‘models’ with ‘Constructions’
Education:
1994-'96: Slade School of Art, University College London.
Master of Fine Art Sculpture.
1990-'93: Sheffield Hallam University BA (Hons) Fine Art.
1989-'90: School of Art, Design and Performance Studies
Tresham Institute of Higher Education.
Foundation Diploma in Art and Design.
Exhibitions:
March ’07
‘Videoisme’
Mains D’Oeuvres Paris
October ’04
Spitz Gallery London
Curated by Tom Dale
October ’04
Pilot 1. International Art Forum London
Nominated by Ingrid Swenson
February ’04
Whitechapel Project Space London
September ’02
‘Face Off’
Cinema Texas 7
International Short Film Festival, Austin Texas.
February ’02
‘Back in 10 minutes’
10 Martello Street London.
May – June ’01
‘mise en scene’
Centre for Freudian Analysis and Research.
Curated by Sharon Kiveland
June 2000.
'Impossible Touch'
Birmingham Margaret Street, BIAD, UCE.
Curated by Nayan Kulkarni
March - May '98
'Whitechapel Open '98'
Showing at Whitechapel Gallery and
The Tannery
June '96.
Slade Postgraduate Sculpture Show
Slade School of Art, University College London.
1994-'96: Slade School of Art, University College London.
Master of Fine Art Sculpture.
1990-'93: Sheffield Hallam University BA (Hons) Fine Art.
1989-'90: School of Art, Design and Performance Studies
Tresham Institute of Higher Education.
Foundation Diploma in Art and Design.
Exhibitions:
March ’07
‘Videoisme’
Mains D’Oeuvres Paris
October ’04
Spitz Gallery London
Curated by Tom Dale
October ’04
Pilot 1. International Art Forum London
Nominated by Ingrid Swenson
February ’04
Whitechapel Project Space London
September ’02
‘Face Off’
Cinema Texas 7
International Short Film Festival, Austin Texas.
February ’02
‘Back in 10 minutes’
10 Martello Street London.
May – June ’01
‘mise en scene’
Centre for Freudian Analysis and Research.
Curated by Sharon Kiveland
June 2000.
'Impossible Touch'
Birmingham Margaret Street, BIAD, UCE.
Curated by Nayan Kulkarni
March - May '98
'Whitechapel Open '98'
Showing at Whitechapel Gallery and
The Tannery
June '96.
Slade Postgraduate Sculpture Show
Slade School of Art, University College London.