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’ 

HARALD HUND AND PAUL HORN

SIMON KENTGENS

SHEENA MACRAE

Odyssey 7'00" 2006 

In a recent installation at the MAC/VAL Musée d'Art Contemporain Val-de-Marne in France, Sheena Macrae's single channel video was reflected into three giant mirrors. This installation created an infinity chamber of lines, endless stripes extending into the reflected echoing image, playing with the film’s original desires of sci-fi pseudo speculations of infinity and eternity. “The quality of the epic always resides in a single breathless moment. As if the universe were anchored by sync points, where for just one video frame, one thirtieth of a second, all of its truths are revealed in fragmented, incomprehensively overwhelming glory. It’s an indefinable sentiment, expansive beyond language, residing in the intangible realms of the metaphysical. A place not unlike your tv screen. Perhaps Sheena Macrae is a diviner; her ability to extricate the essence from the epic is uncanny…Like a drug or a diamond, a screen-size cosmos for the taking. Ergonomic, perfect, and larger than life.” -- © Patricia Ellis, excerpt from Flatpack TV, 2005

ERWAN MAHEO

KATE MccGWIRE

Kate MccGwire’s work exists in a twilight zone where beauty butts up against ugliness, rapture meets disgust and reason superstition. She will take an everyday material or object – a chicken wishbone, pigeon feather or book – and, by re-framing it, generate ‘a field of attraction’ around it. The viewer is left reeling, simultaneously seduced and alienated, relishing the spectacle but at the same time aware of something disquieting, something ‘other’. Her instinctively aesthetic approach – pared-down, spare and sensual – ultimately proves treacherous; the bone invokes the chill of death and stench of the killing fields, the feathers a gag-like response at their parasitic growth, while the inverted flower scarring the book’s pages denies all possibility of human progress through knowledge. The shift from a world in which objects sit in their ‘natural’ place allows us a new perspective, exposing us to the macabre truths that lurk behind the familiar and the nightmarish reality of what it is to be human – a brutal consciousness of the ugly and the funereal, of fear and disgust.