Reverse Archaeology

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An Art Installation at COCA (Center of Contemporary Art). Located in Seattle, WA. 1998
1998 Size : 3,500 sf

The sculptures for this installation were conceived as a phrase whispered around a room, transforming each time it is passed on.

The walls of the gallery were not to be moved, cut, or penetrated in any way. This intransigence became part of the work, which was presented as if it were a caravan moving unseen through a town. A wooden “track” made a circuit in and out of the gallery. Metal studs were fastened to the perimeter walls, 24 inches on center, turning the background inside out.

The Dream House Suit is a portable dispenser of “genetically spliced” architectural plans. The spliced plans originated from one chosen from “Dream Homes”, a mail order catalog of architecture. These kaleidoscopic manipulations produced architectures of isolation; a glass room with no door, a corridor of doors with no rooms, mirrored spaces with no logical pathways, door swings that double back on themselves. Absurd spaces, reflecting an architectural process gone awry. Choosing from this catalog of houses, which is infinite in variation but myopic in scope, is analogous to fitting oneself into a pre-manufactured dream.

The bear was a generative, dream image. The Bear Suit was fashioned to facilitate this dream. From its own “pattern book” it is tailored to a specific body. It’s image, however, can never fulfill the potential of the dream it pursues. The Bear Suit is therefore neutered, banal, alluding to the impossibility of ready to wear architectures.

For architecture to address the space of dreams, one must construct work using the sensations of the body, the impossibility’s of the mind and the phenomena that exists between.

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