MKE// 0002

Small Wedge Big Wall

IMG_0192.JPG

To disrupt the white ensemble by the piercing force of the red wedge.

It is 1917, frustrated by oppression the people rise, Invigorated by the promise of rule for, and by the people. An idyllic notion captured by an accompanying avant-garde art movement embellishing the fight up, from under. To disrupt the white ensemble by the piercing force of the red wedge. This is the political emotion of Lizzitsky’s “Beat the Whites with the Red Wedge”.

In the vacuum of soviet social implosion, in a time of venal consumerism to the service of self, have we any path back to the elation of that Utopian bliss?

This project rejuvenates the incisive impact of the wedge and radially extrapolates it in to multiple points, converging to dramatic effect. Though in context, is it enough?
 

A sheer Sydney sandstone wall faces just slightly north of due west. It is an incisioned face, weathered by the hars Australian sun and battered by its equally tempestual gusts. This is a transitional space, a cutting for a road, a means to a destination. 

Lined by a narrow footpath, engrossed by residual liquids and sand stone fragments. There is a course patternation to the surface of this stone where pale cream pastels and meld into gold and orange streaks. There are evident lines and indentations of human origins, whose reasoning is not easily discernible. This is the location for this work. 
 

Where the previous project imagines each element as a wing, this new articulation of works sees the elements as three dimensional attacking wedge, at the moment neither before or after impact. Whilst wholly new in concept, the blades maintain their integrity and are only enhanced by their dynamic placement and speed inferring transparent fins.

IMG_0048.JPG

Originally designed to stack vertically each blade could only be articulated to final position on site. Even with accurate measurements, the organic form of the rock requires organic placement of the blades. A horizontal beam across the horizontal plane at the top of the space is secured within existing deviations in the stone.



Comment