L O I S L O N G
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INTERIOR ARCHITECTURE AND DESIGN
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FINE ART PRACTICE - 2020-2021
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My practice has consisted of using light, pattern and architecture. I started with connecting elements of light through brutalist architectural photography which formed line patterns, advancing to a sculptural way of working. This was then expanded through perspectives, routes, topographic maps and communal participation.
I have challenged myself in workshop environments meaning I was able to carry out complex processes which included using the bandsaw, pillar drill and vacuum former. Although, there was a difficulty of knowing the correct thickness and stability for a material to complete the processes successfully. This meant it was necessary to test out the capabilities of different types of materials.
Brutalist Topographic Map, 2020
Dimensions: 20.1cm(W) x 29cm(L) x 10.5cm(H)
Once I discovered ‘The LUME’ which is an interior immersive installation in Indianapolis, I noticed a turning point in my practice as I found an interest in interior architecture. I wanted to expand on this by distorting interior spaces digitally and through patterned glass which developed successfully into creating disfigurement in spaces.
I loved experimenting with camera obscura as this process allowed me to create an immersive surrounding through light which was expressing an illusional atmosphere. I found it interesting how this was enforcing the exterior into an interior dwelling. I wanted to incorporate the basics of this process for my final outcome ‘Lost in a mess’ as this was working with a larger life size scale, enforcing a connection with the viewer as they would experience and feel part of the artwork. This could mean the exhibition would have a constant change and no limit of participation, rather than insinuating a fixed communal presence like previously in my artwork the ‘Brutalist Topographic Map’. I felt camera obscura had an impact on my creativity as I found ways in which I could insinuate multiple worlds into one artwork.
I have found a connection within my three final outcomes through the concept of movement, such as movement through process and layering, aesthetic turbulence and public participation. This shows how I have evolved from using natural movement into movement you can control. Illusional imagery and atmospheres have been a strong developed area throughout my practice. I have now reached the point in connecting illusion to architectural model making, through interior wall layouts and layering which can be adjusted and taken apart by viewers so that the perspective can be continuously edited in my outcome ‘The Unknown’. In this piece I connected my personal experiences to architecture as I wanted to take advantage of how it would encourage different interpretations of meaning in my artwork.
