The large-scale drawings are displayed with the 3D pieces adjacent to them at peculiar “floating” levels
The above photograph which I bought in a flea market during my Erasmus period in Poznan, Poland in 2016 has traveled with me from studio to studio ever since and only now has its relevance begun to transpire. The gateway frames the view of the background seascape in a very interesting and what I feel to be an uncanny fashion. Who took this? When and why?
Statement of Practice
The sensation of ‘uncanniness’ is a difﬁcult feeling to deﬁne precisely. It is felt as neither absolute terror nor mild anxiety. In his essay On the Psychology of the Uncanny (1906), the psychologist Ernst Jentsch, attributed the feeling of the uncanny (‘Unheimlich’) to a fundamental insecurity brought about by a “lack of orientation”, a sense of something new, foreign, and hostile invading an old, familiar, customary world.
I am expanding on the idea of incongruous city architecture through collage, drawing, and sculpture created from city photographs of local architecture and the changing view from my studio window that I take daily. The addition of collage to my drawing process has allowed me to experiment with scale and composition. The large drawings represent junctures of the changing city skyline; one depicting my former studio building at its demolition stages and the other, the “new” building that has just appeared within my viewpoint.
The presented work attempts to give a sense of the uncanny in the experience of city architecture. I have placed the 3D works to appear as floating buildings that do not seem to belong to a specific time or place and the large drawings intend to elevate the modernist buildings almost to the state of a castle ruin standing alone in a nondescript space, beginning to disappear beneath the horizon line.