Journey inbetween

Spatial experience inside of the Saint Paul's dome turned out to be something similar to the experience from images by Piranesi. At some point among all the staircases, beams, small openings and windows a look downward or upwards can't help to difine the space: it becomes a whole dimension, with no beginning, no end. Even now viewing pictures I have to make an attempt to recognize the disposition of the camera regarding the system of x-y-z.

Presentation for the British Land Spatial Competition. Regent's Place.

“The inner gap is a mould between two outsides – it is a space of transformation…The tear in the descriptive-conceptual tissue is…both a gap and a place, but more important it is a locus of transit, like a tunnel between two worlds”
 L.Lerup

Holy Trinity Church is situated just across the road from the Regent’s Place. It was build in 1826 - 27 after the project by Sir John Soane, a British architect, who is considered as a “master of space and light”. The interaction of these two important spatial issues becomes noticeable on the site as well because of the glass constructions in modern architecture in Regent's Place, which provides interstitial spaces and light reflections. Sir Soane was interested more in breaking down classical conventions. He was inspired by works by Piranesi. The notion that became an inspiration for the installation is the effect of the light that enters the space from one point and then arrays into various directions through holes and interstitial spaces.

Section through the Dome and the Breakfast Room, Sir John Soane Museum, Linkoln Inn Fields. From "John Soane: Architectural Monographs" by J. Summerson

The installation represents the notion of transcendence, the reverse of inside and outside and makes and attempt do describe their correlation. In this work the experience of the body in the space becomes crucial.  “The gaze implies an unconscious touch…visual apprehension of materiality, distance and spatial depth would not be possible at all without the cooperation of the haptic memory…vision reveals what the touch already knows. We could think of the sense of touch as the unconscious of vision”(Pallasmaa, 2005: 42). It is peripheral vision that transforms visual into bodily experiences, working with our unconscious and if the space of transformation is imprisoned between outside and inside, then there is th eonly way to see it: with the help of our skin.

Modern music as an example of fragmentation

Ehrenzweig states that in perception of art we must make an attempt to unfocus the vision and deny the the struggle for conscious understanding of pattern and order. In this case we may move on to a different layer of sensibility. This video is an example of distruption in music.

Ehrenzweig, "The Hidden Order of Art"

Experimental models

Continuing my research in the realm of expression of collective unconscious with the help of art, I moved on to a particular notion of transcendence.

Development of a series of models allows to determine the relationship between the inside, outside and the space inbetween.

Different approach to interstitial space between the two helps the light to fill in the space an appear on the other side of the surface.