In a hunt for shelter, humans turned into nature, occupying seemingly shapeless caves. But there were hidden forms in all primaeval settlements. And, once humans discovered nature’s secret, they built and occupied more space and built the most complex forms. They turned their back to nature and embraced it once more. They created the architecture of Baroque and Rococo. They folded and unfolded form in search for beauty.
Euclidean Form by Mahsa Foroughi
In a hunt for shelter, humans turned into nature, occupying seemingly shapeless caves. But there were hidden forms in all primaevalsettlements. And, once humans discovered nature’s secret, they built and occupied more space and built the most complex forms. They turned their back to nature and embracedit once more. They created the architectureof Baroque and Rococo. They folded and unfolded form in search forbeauty.
Mathematics has never been leftout of the aestheticalreckoning. Kepler’s Fibonacci Sequence, the da Vinci’s Vitruvian Man, and Leibniz’s polymath that constituted the grounding elements of a Baroque, all are examples of a quest for a form. A form that can lift humans psyche that can move us to the realmof beauty.
Ingrid Siliakus’s series of folded form draws us back to a multiplicityof the world of immanence.Fragmentedis an impulse of a black and white world, where the spirited virtue trapped in the darkness. One cannot trust the simplistic surface of Reflejaras it is pregnant within. Equinoxshows the beauty of fold, the term that Deleuze once established as “a model for expression in contemporary aesthetics,” the concept that illustrates the dynamics ofspace, movement, and time.
Gloria MacGrath’s Euclidean forms draw us back to the ancient worlds of Greek. Plato’s Cave is the pyramid of thought, an illusion of shadows. Indeed, we all are prisoners of the cave who see shadows reflected on the wall from objects passing in front of a fire behind them. A true artist is a freed-up foremost prisoner. She goes beyond the cave to realisethat the shadows on the wall are not reality at all. So, does our Euclidean world?!
Nicolas Jones’s books represent a hole in our knowledge. Whether we now Goethe or we’d only read the sides of his epic and lyric poetry? Whether Goethe’s ‘Full Moon Rising’ Shines within the page of an old book of him? Eventually, whether we are living in a world ofthe words or the wordstake us to the zone of the forms; Tupper ismocking our knowledge our true sense of understanding.
Eun Ju Cho’s works anecdote another story. They are the embodied version of Malevich’s Black Square. They talk aboutthe abstract movement. A dot that moves to become a line, a line that paralleled to create a space, aspace that, no matter how ifinite, become enclosed to frame the whole. The series; Reflecting on Lines and Windows, challenge the usual form of window. They are the dynamic of lines and colours. They sometimes turn into a subtlemetaphor of prisons’ window and another timea peaceful piece of a farm window. They are abstractions, dynamics, and EuclideanForms thatspeak of radical geometry although simple, although tranquil.
About Mahsa Foroughi
Mahsa is an Architect and a Poet. She is near completion of a PhD at the Griffith University, Gold Coast, Australia and writes extensively on architecture and philosophy.
In 2014, she was awarded the Graduate Scholar Awardat The Fifth International Conference on The Image for outstanding achievement with an active academic interest in the conference area. Apart from her academic experience, Mahsa has worked with several cultural institutions in Sydney, including Carriageworks and the Museum of Contemporary Art, and more recently at the National Institution of the Dramatic Arts.
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