As we build more and more, the space gradually defines itself. It is becoming easier to liken the movement through the ‘labyrinthine’ space with that of a familiar one through your house or in your garden or kitchen, living room or bathroom. Only difference may be that the only semblance of a roof will be that of branches and leaves sprouting from a mango tree. The twists, turns, warps and pieced forms delimit the habitable space and connect the subject[s] to a range of experiences; previous architectures or a different experience within a built confinement. But it wouldn’t be a confinement, as far as the entry and exit or the performance of the subject is concerned; the open-ended nature of the forms/ structure borns the interactions of spatial dialectics.
Are these walls? I asked one time… Of course, why not? Are these sculptures? No more than Kofi Setordzi’s installed ‘Genocide’ works or Niki de Saint-Phalle’s monumental ‘Tarot Garden’ sculpture in Italy. These works border on the condition of human experience; capture a moment in time (or history; whether painful/ recreational or in pursuit of an inquest of any kind). Of course we couldn’t learn the residents of Tuba to interact/formulate their own relations with the sculptures/architecture/walls.
Participation/ interaction is intrinsic to the expectations of this project—here I mean when the works are merely looked at, played in, sat in, or destroyed by the spectator. Curiosity and subtle interests invested in the works will define meaning, function and anything else there is to define for any kind of perception or interaction formed…