VINDAUGA
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This film explores the prosaic and poetic nature of the window. The window as a site of exchange. It encourages ideas of the deconstruction of the made object, to become more than an object and more of a ‘thing’ which has the ability to act as a threshold to transcend thought. It seeks to explore the ever-growing discourse of a nature/culture binary opposition within the arts, in particular for the purpose of this report, architecture and biomimicry. It has been suggested and proven by research, such as that as undertaken at Stanford University, that a return to nature is a necessary measure to restore equilibrium from a period of mass production, globalisation both in terms of the environment but also the self.17 Evidence of this can be seen through growing areas such as biomorphism, biomimicry, biophilia and sustainability. Bio being the predominant prefix denoting ancient connotations of design by life, suggesting that life worked before human and technological intervention.[1]
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To support this idea of the ‘bio’ and a reconnection with lost or forgotten senses I conducted a simple survey. So far I have engaged 37 participants. The survey required them to find their transcendental space, to become aware their existence and note the [controversial] liminality of being and becoming touching on the sensory. They were also asked to send an image. Figure 2 really gives a sense of two environments merging and showing processes at work as a person is in liminal moment of becoming. (Being in the simplest sense from a traditional philosophical sense, suggests something static, but is anything really static? Sitting still: our blood flows, our thoughts move, our eyelids open and shut, the wind blows, the invisible air flows. Even dead, the body decays. Can being be thought of as liminal?)[2]
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Building skills are deeply rooted within our psyche, from the single cell environments built out of intricate lattice silica to the large 21st century elaborate glass skyscrapers. Built environments are now not such about necessity but also the absurdity ego of man compared to the natural lattice forms of the single cell Radiolaria built from an enteric intuitive evolutionary need to survive. We knit, weave and build to excess causing detrimental effects to our environment, the survival of our harmony with nature.
The Window also reflected an awareness of the trouble with mass production and waste which is discussed in the perspective A window on The Environment. I have sought to connect this tragedy within my creative practice by way of fabric creation and dance.
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I began to research the window further and its’ physical attributes. Glass is an amorphous solid, see-through structure. The glass is created from silica found in sand. These days our beaches are awash with waste products including plastics. Within my project I have used recycled plastic and heat to create a composite fabric, using the heat press and controlled cooling to stop the polymers from shrinking. The same methods are used in different glass productions such as fibreglass. The structure is made of chains of unstructured polymer chains which resemble lattice patterns.[1]
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Please contact to read the full report.
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Creative Development: Roseanna Jiggins
Production: Sencha Green
Dancer:Martine Conway
Cinematography: Sara Hawley
Textile Designer: Roseanna Jiggins - Plasilk Fabric
Choreography: Martine & Roseanna
Music: Roseanna Jiggins & Millions of Colors
Lighting: Daniel Williams
Runner: Luke White
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[1] The chemistry of silicon available at http://chemwiki.ucdavis.edu/Inorganic_Chemistry/Descriptive_
Chemistry/Elements_Organized_by_Block/2_pBlock_Elements/Group_14%3A_The_Carbon_Family/Chemistry_of_Silicon [accessed 03/05/15]
[1] Bernett, A That Trendy ‘Bio’ Prefix found at http://www.terrapinbrightgreen.com/blog/2015/01/biomimicry-bioutilization-biomorphism/ [accessed 30/07/15]
[2] Appendix B. Survey - Window of Emotions 2015 RMJ