Rendre le son solide et l'architecture fluide, n'est certes pas (encore) à l'ordre du jour, mais la "porosité" du premier pourrait aisément infléchir les textures rationnelles de la seconde.
Notes de piano, souffle puissant, ininterrompu, les premières mesures de ETHKIB obligent à l'observation attentive de l'air, l'auxiliaire synchronique, son écrasante domination d'un volume inerte. Inflexion de basse, orgueil de surfaces solennelles, majestueuses, l'appel de l'onde et bientôt l'éclat d'une réverbération oléiforme - EVEN THE HORIZON KNOWS ITS BOUNDS renoue avec l'extrême sensation d'une matérialité qui se confond avec nos terreurs et quelques secrètes espérances - Une expérience saisissante !
⚪️ EVEN THE HORIZON KNOWS ITS BOUNDS
⚪️ Lawrence English
⚪️ LAWRENCE ENGLISH / more in nocovision ...
A commendable initiative by Jonathan Wilson, curator, with a project driven by a clear intention:
To engage in dialogue with a place—the "Naala Badu" at the Art Gallery of New South Wales (Sydney).
A place whose name means "see the water" in the Gadigal language.
EVEN THE HORIZON KNOWS ITS BOUNDS is a manifesto in itself:
"I like to think that sound haunts architecture," says its creator, Lawrence English—a symbiotic resonance.
While making sound solid and architecture fluid may not (yet) be on the horizon, the "porosity" of sound could effortlessly influence the rational textures of architecture.
Piano notes, a powerful, unbroken breath—the opening measures of ETHKIB demand a focused observation of the air, that synchronic auxiliary, imposing its overwhelming presence on an inert volume. A bass inflection, the pride of solemn, majestic surfaces, the call of the wave, and soon the shimmer of an oleiform reverberation—EVEN THE HORIZON KNOWS ITS BOUNDS reestablishes the intense sensation of materiality merging with our fears and a few secret hopes. A truly striking experience!