C E T A C E A

into pattern
flowing blood
giving form

in every part
the whole you see

from the moment of commitment, nature conspires to help you

nature conspires to help you



bjork + matthew barney, 2006.

Tue, Apr 3, 2007  Permanent link

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Remarks on nature, super-ecology, life, production, position and other negotiation.

Article to read:http://weboeliasson.dyndns.info:8080/PDF/Remarks_on_nature.pdf

Enjoy the amazing work of artist Olafur Eliasson:http://www.olafureliasson.net

Another great read is:http://weboeliasson.dyndns.info:8080/PDF/If_the_eye_were.pdf











Olafur Eliasson: The Weather Project at the TATE, London

Tue, Apr 3, 2007  Permanent link

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complex organization

As reference I'm including this permanent art installation I created for architect Thom Mayne of Morphosis for his recently completed Recreation Center at the University of Cincinnati. You can read more about the project and see more images at my site: rebecamendez.com under 'projects.'

University of Cincinnati Marché Art Installation, 2006

Description:

For the second commission at the new Rec Center, Thom Mayne of Morphosis asked Rebeca Méndez to create an art installation on four cone-like structures, two of them reaching over 50 feet high and piercing through the roof. The cone structures envelop the kitchens of the food court, and hide all the piping and machinery necessary for such enterprises. What often happens in spaces like these is that the occupants fill them with evergreen ficus trees to liven up the interior, often leading to dreary, dried out dust collectors dying in a lonely corner. Permanent flora printed on the cones, Morphosis imagined, would avoid this tragic fate. Méndez and Mayne discussed D’Arcy Wentworth Thompson’s seminal work On Growth and Form (1917), which posits that processes in nature fit mathematical equations, setting out to prove a unity of life by its relationship between form and function. To expand on this, Méndez studied Stephen Wolfram’s book A New Kind of Science (2002) where he states that repetitive application of simple computational transformations is the true source of complexity in the world. Méndez’s investigations into how to create a visual dialogue between flora, the architecture, and the site led her to select grass — specifically giant reed grass — for her art work. Over many months and continents, Méndez photographed grass from various points of view and under the different weather conditions allowing light and wind to create visual difference, and to reveal the patterns that one simple form — a blade of grass — produces through complex organisation.

Tue, Apr 3, 2007  Permanent link

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