Take Stock Post

Preparing chairs and a bookwork for Kids.Modern this Sunday. Will post on that in due course but actually turning a lot over internally, post-Hand Werk. Visual, formal data settles into categories and somehow it will feed near-future work. Thinking quite a bit about patination and artificial, chemical-institutional colour subjected to the elements. This was taken last year, of one of a community of semi-troglodyte hand-buildings out of a low cliff face in Aglou, Morocco.



This, in Walworth. A part I think of the maligned Aylesbury Estate which is due to be demolished. It's the subject of a major oral history project out of LCC.



Carol Bove's A Setting For A. Pomodoro (2005)(via Hotel). Distribution of ingredient in space. Ingredient language.



The pop-up Okido shop in Brixton Village Market, a short term but very wonderful creative burst, colonised here by Chie Miyazaki and Soju Tanaka, two of our soon-to-graduate, super talented people.



Hélio Oiticica's B08 Glass Bólide 02 (1963-64) via Tate. This series, referred to by the late Oiticia as 'structures for inspection', intended to be handled. Can't be handled now.



Doorway as taken in Mirleft, Morocco.



A chairwork-to-be. This, with more exposed frame and greater functional aspect to the fabric, upholstered pad elements. A child's chair for reading.



As seen in Bethnal Green Museum of Childhood's exhibition of children's chairs, via V&A. "A folding seat cut and mounted within the table". Venesta Plywood Company, Latvian, c. 1939.

Sol Le Witt's Serial Project No. 1. (ABCD) (1966) (via). His method, his edit.

A Japanese diary with day-page accommodation for time to wake, time to sleep (I guess), temperature, words, picture.

Again, Hélio Oiticica's B22 Glass Bólide 10 Homage to Malevich Gemini 1 Homenagem a Malevich Gemini 1 (1965), via Tate.



And B09 Box Bólide 07 (1964).



Finally one pattern, one palette scuppering the other. Skewed harmony.



U-Bahn seat ends a fits and bursts post.