DER TROST DER GUTEN FORM (Contraconstruction)
THE CONSOLATION OF CORRECT FORMS
wood, plexiglass, metal grid, plants, 2004
The perfect category of the aesthetic modern in art is form.
(Peter Bürger: "The Aging of the Modern")
The postmodern is that which, in modernism, alleges the unrepresentable within the representation ... which rebels against the consolation of correct forms, against the consensus of a taste allowing people a shared feeling of nostalgia for the impossible ... which seeks new ways of being represented, not for the enjoyment of it, but to make the existence of the unrepresentable more apparent.
(Jean-Francis Lyotard: "What Is Postmodern?")
The principle of the cubic object´s construction is based on oppositional pairs such as geometric/organic, transparent/opaque, interior/exterior, orange/green. Inspired after reading Le Corbusier´s "Modulor," I used the dimensions of my own body as a basis for the sculpture.
The plants inside the object were employed decoratively. As is well known, plants turn their leaves toward light sources. In this respect the sculpture possesses kinetic aspects. Primarily potted plants were placed on window seats and, when left alone long enough and permitted to grow, they completely covered the glass surface with their leaves. Achieving this long-term effect was my intention with this sculpture.
In the context of the geometric object, the plants represent its opposite, i.e. the non-shaped, the chaotic and self-similarity. They represent a contrast to rational, metric forms and?as they inhabit one?are at the same time subordinate to them. The plants´ green color conflicts with the "industrial orange" of the construction´s lower half.
The system of natural growth is juxtaposed with that of human rationalism.
This is a compact, hermetically sealed space. The interior can be examined, but not entered. The space-within-a-space construction accommodates an (almost) autonomous biotope.
Added to the title is the designation "contraconstruction." This term, coined by Theo van Doesburg, explains in the best possible way the dialectic principle underlying the cube´s construction. The orthogonal metallic skeleton and the rigidly geometric construction principle conform to the dogmas of the De Stijl movement, while the choice of colors and the organic forms violate its system of rules.