Invitation from Exhibit320 Gallery and Curator Meenakshi Thirukode
Making Space was a time and space based project where within the duration of three months, the space was made anew with different site specific and time specific works. The foremost initiation in the project was division of the physical space into two halves- first half as thinking space and other half as canvas or paper.
The works made during the three months project duration-
The first work was an exercise in understanding the poetics and spatial narrative of the space. That came through by simply highlighting the existing lines – both structural and of elements. The space was transformed into a sketch book page as one sees from a distance and akin to a cardboard model when one enters it.
Medium: Black Paint
Work produced by Ram and Vijay from Exhibit320 Gallery
The work is an extension from a previous work with similar title – Notes on Movement: Drawing. Both works uses drawing as a mediator to channelize movement in space.
This work is an act pf performance based on a set of instructions through form and process. The space and its constraint parameters becomes the generator of constraint forms. The body becomes the medium to create and erase the drawing simultaneously. Drawing is based on the set of precise instructions, both clockwise and anticlockwise, creating basic geometric forms (triangle, square, pentagon, hexagon, heptagon, octagon) in a rhythmic pattern.
Clockwise – 3-4-5-6-7-8 (triangle, square, pentagon, hexagon, heptagon, octagon) Anti Clockwise – 8-7-6-5-4-3 (octagon, heptagon, hexagon, pentagon, square, triangle)
Clockwise – 4-5 (square, pentagon) Anti Clockwise – 4 (square)
Clockwise – 5-6-7 (pentagon, hexagon, heptagon) Anti Clockwise – 6-5 (hexagon, pentagon)
Clockwise – 6-7-8 (hexagon, heptagon, octagon) Anti Clockwise – 7-6-5 (heptagon, hexagon, pentagon)
Clockwise – 6 (hexagon) Anti Clockwise – 5-4 (pentagon, square)
Clockwise – 5 (pentagon) Anti Clockwise – 4-3 (square, triangle)
Drawing in space was a response to an existing question of “how to physically enter a drawing?” The three dimensional drawing on wall and ceiling invited the viewer to move around and engage with the multiple dimensions within the drawing. The drawing is site specific as it was built along with the structural elements like corners, columns etc.
Medium: Cycle Spokes, Nails, Paint, Thread
Work produced by Ram and Vijay from Exhibit320 Gallery
Note – Gupta executed a drawing on paper in 2013 which runs 26’ long horizontally. Later in 2016, she converted that drawing into a “set of instructions” by breaking it down in a basic language involving numbers. From there on she has been inviting practitioners of numbers/ architecture, music and other creative forms to respond to these “set of instructions” as per their interpretation and in their chosen media.
Set of instructions –
1. Continuous vertical parallel straight lines till 26 feet.
2. All lines of equal length – 40 cm each.
3. 300 lines in 1 feet = 7800 lines in total.
4. Number of breaks in between the continuous vertical lines = 19.
5. The breaks are at different intervals and in the form of horizontal lines.
6. 1st break in the form of horizontal line starts at 44th cm from the initial 1st vertical line and 8th cm from top.
7. 2nd break – 44cm + 33cm; top – 32cm
8. 3rd break – 44cm + 33cm + 37cm; top – 16cm
9. 4th break – 44cm + 33cm + 37cm + 38cm; top – 38cm
10. 5th break – 44cm + 33cm + 37cm + 38cm + 30cm; top –14cm
11. 6th break – 44cm + 33cm + 37cm + 38cm + 30cm + 58cm; top – 28cm
12. 7th break – 44cm + 33cm + 37cm + 38cm + 30cm + 58cm + 38cm; top – 20cm
13. 8th break – 44cm + 33cm + 37cm + 38cm + 30cm + 58cm + 38cm + 45cm; top – 30cm
14. 9th break – 44cm + 33cm + 37cm + 38cm + 30cm + 58cm + 38cm + 45cm + 32cm; top – 6cm
15. 10th break – 44cm + 33cm + 37cm + 38cm + 30cm + 58cm + 38cm + 45cm + 32cm + 62cm; top – 12cm
16. 11th break – 44cm + 33cm + 37cm + 38cm + 30cm + 58cm + 38cm + 45cm + 32cm + 62cm + 18cm; top – 26cm
17. 12th break – 44cm + 33cm + 37cm + 38cm + 30cm + 58cm + 38cm + 45cm + 32cm + 62cm + 18cm + 48cm; top – 10cm
18. 13th break – 44cm + 33cm + 37cm + 38cm + 30cm + 58cm + 38cm + 45cm + 32cm + 62cm + 18cm + 48cm + 21cm; top –24cm
19. 14th break – 44cm + 33cm + 37cm + 38cm + 30cm + 58cm + 38cm + 45cm + 32cm + 62cm + 18cm + 48cm + 21cm + 74cm; top – 2cm
20. 15th break – 44cm + 33cm + 37cm + 38cm + 30cm + 58cm + 38cm + 45cm + 32cm + 62cm + 18cm + 48cm + 21cm + 74cm + 18cm; top – 36cm
21. 16th break – 44cm + 33cm + 37cm + 38cm + 30cm + 58cm + 38cm + 45cm + 32cm + 62cm + 18cm + 48cm + 21cm + 74cm + 18cm + 42cm; top – 4cm
22. 17th break – 44cm + 33cm + 37cm + 38cm + 30cm + 58cm + 38cm + 45cm + 32cm + 62cm + 18cm + 48cm + 21cm + 74cm + 18cm + 42cm + 41cm; top – 22cm
23. 18th break – 44cm + 33cm + 37cm + 38cm + 30cm + 58cm + 38cm + 45cm + 32cm + 62cm + 18cm + 48cm + 21cm + 74cm + 18cm + 42cm + 41cm + 24cm; top – 18cm
24. 19th break – 44cm + 33cm + 37cm + 38cm + 30cm + 58cm + 38cm + 45cm + 32cm + 62cm + 18cm + 48cm + 21cm + 74cm + 18cm + 42cm + 41cm + 24cm + 57cm; top – 34cm.
25. Continue the movement till the end i.e. 26 feet and then reverse back the process, again going back to vertical straight lines.
First interpretation was by Hemant SK
Title: PGX [ parul gupta xerox ]
Medium: Executable Code
Description: The composition takes an instruction set by Parul Gupta and attempts to recreate the essence of her original composition through an executable set of commands in Processing. Beyond recreating just a high-fidelity version of PG’s original work, this version attempts to compress certain aspects and expand certain other aspects of the time dimension in slow sequential decay through the noise function.
The last work in the project was based on the idea of time as space.
Durational Drawing questions “time as space” where marking on paper was based on a mechanical act of repetition and at the sane time documenting time. The drawing was made with in a period of 10 continuous days from 10am to 5pm each day. The work later was divided into 5 parts.
Durational Drawing departs from my pre existing concerns on drawing – “Drawing on paper reflects a series of concerns prompted by repetitive action both fuelled by internal (somatic & psychic) and external (drawing & environment) phenomena simultaneously. While making repetitive patterns using the line as form, both mind and body is engaged as machine – moving in methodical, rhythmical motion – mind in a confined space, while the body aided by two tools (pen & ruler) that while making the straight line endures the pain, heightened by the awareness of the self, the surface and the activity.”
Medium – Ink On Archival Paper