Photocopied Reality

Natasa Teofilovic



Two works are shown in this issue and the previous one which have a common methodological approach. In both of them, space is transposed in different ways - through the concept of meaning of space, through drawings in the sand and through architectural design. The three approaches are parallel and they are not hierarchically organized. What they have in common is that architectural space (both mental and physical) is made of material which was found and put aside, that is, by accumulating information about the Place. 

The concept deals with the issue of identity - because the locations are on the islands and far away from the other space with much more expressive, dense, structure. On the Island of Monks the topic is the identity of space that has to be opened towards people, and on Great War Island - the identity of a person who is supposed to inhabit the space. 

Architectural space (building or object) transmutes the meaning of its constitutive elements, works with conventions of symbols, which make a solid, sometimes even "petrified" working material. 
The drawings in the sand and the drawings of the sand represent a direct access to the 1:1 scale, immediate adjusting of oneself to the space and not the other way around. Whereas the conceptual approach refers to knowledge and to the meaning which "preserves" the past, and whereas architecture is directed towards designing a new, future, situation, the drawings in the sand presuppose an access to the present moment and use of ephemeral materials. The quality of a certain space lies in its ability to memorize, to accept new records; word, drawing, or photocopy are just separate ways of materializing its new recollection. 

The process of transmuting the drawings in the sand - enlarging and correcting them - is controlled as little as necessary to find an optimal size, scale and contrast of the drawings. What is not controlled are the original drawing and the errors made by the photocopying machine. Enlarged, bare, eroded stains are much more important for these works as a sign of the tendency towards transcending space than as an associative drawing, as a basic sketch for architecture. That's a dogma of the Christian tradition which is worth respecting - image transcends the representation itself, it transcends the existing reality. Knowledge about the transcendental which once existed is mentioned here because of the feeling of deep respect for the human need for Faith, whether it is called God, gnosis or creating the future by "thinking eyes".

Natasa Teofilovic, Wind Driven Sound Machine, Ile aux Moines, 1992