Negative Solid • “Glücklich unterwegs… und frei”, Ganzer, DE.
Negative Solid is a structural inquiry into the aestheticization of ruin* and the past. A sheet constructed of Japanese washi paper extends across the church from one window to another, appearing solid from the entrance. By taking the interior form (the negative space of the ruin) and externalizing it through abstraction, the intent is to divert attention away from the object of ruin and instead, towards the space that has been left over.
The connection to Fontane arises through the reference to the reference of land artists, Michael Heizer, James Turrell, as well as the sculptor, Isamu Noguchi, for their awareness and keenness to engage with the environment as it is; but also its potential. With similar focus and curiosity about our natural environment, but rethinking it through its historical dimensionality rather than simply a descriptive narrative work. With the critical concern of the aestheticization of ruin, and more critically, why historically, is it about the object/structure that is left over rather than the space: the Negative space? So, in taking a Negative Solid of a ruin: What does this mean for new form, or can it even be construed as “new” given its historicity?
*The concern for the aestheticization of ruin developed during an excursion to the ruins of Pizzo Sella, Palermo, and my subsequent writing and performative exercise, “Dis-Inventing Modernity”: A Gamification Towards Multinaturalism.