Felled like trees in their entirety
some having stood for almost 150 years
exquisite brick detailing, gone forever.
Goithic revival flourishes
a minor earthquake when this one came down
“Gardens of Babel” solo show
– through till end of February 2011 at Rohtas-2 Gallery, Model Town, Lahore, Pakistan.
The red Kashan before work began, its around 100 years old.
Cut down to the central medallion, repaired and embroidered with a map fragment of Hyde Park, 1862.
Looking accross the gallery, “Enquiry and Endeavour” on the table (Singer 7-33, Microscope, antique prepared slides)
“The Garden of Babel” 54″ x 45″ print to wall, Ed 2/6
Looking in to the gallery.
“Garden Palimpsest” foreground, a 130 year old Kerman overworked with Jean Delagrife’s plan of Versailles estate from 1746.
The two garden rugs, European garden history overalying charbargh paradise gardens below.
“Enquiry and Endeavour” (Singer 7-33, Microscope and antique prepared slides)
Details from “Garden Palimpsest”
“The Tool Store” C-print Ed. 1/3
“Hyde Park 1860’s” – the last few days left in the studio, show opens 16th Febuary 2011, Rhotas-2, Lahore.
The Singer 7-33 now in running condition.
“Hyde Park 1862” works in progress.
The reverse of the rug.
Hyde Park
Studio update, Ist February 2011
Hyde Park, London, circa 1850’s
– from a found map fragment.
New rug works, details
Dyed wool yarns
embroidery in progress.
Garden Works
A Water feature, one of a pair in progress for a new garden,
based on the Sharifa fruit or Custard Apple, Annona squamosa.
Thick welded copper sheet throughout.
42″ wide.
MILLER-UREY BONG, 2010
MILLER-UREY BONG, 2010THURSDAY 7TH OCT – SATURDAY 13TH NOV 2010PRIVATE VIEW – Thursday 7th OctDimension/Next*
Miller-Urey Bong, 2010
* a collaboration between Paul B. Davis and AIDS-3D
In 1952 Stanley L. Miller, working in the laboratory of Harold C. Urey at the University of Chicago, attempted to clarify the chemical reactions that gave rise to organic compounds on primitive Earth. The experiment ran as a closed loop connecting two flasks. One flask contained water that represented Earth’s ocean, a second flask contained a mixture of methane (CH4), ammonia (NH3), and hydrogen (H2) that represented a hypothetical ‘reductive’ atmosphere. Miller heated the water to simulate evaporation and rainfall, and used electrodes to simulate lightning, guessing that lightning was a likely energy source for ancient chemical reactions. After running the experiment for one week Miller found that as much as 15% of the carbon in the system now existed in the form of organic compounds. While the Miller-Urey Experiment did not conclusively prove the chemical makeup of primordial Earth, it became a classic experiment on the origin of life.
‘We really don’t know what the Earth was like three or four billion years ago. So there are all sorts of theories and speculations. The uncertainty concerns what the atmosphere was like. This is the major area of dispute.’ – Stanley L. Miller
Miller-Urey Bong allows experimentation with genesis models of the early Earth atmosphere by re-creating the Miller-Urey experiment with the additional functionality of adding any combustive material to the atmospheric simulation. The material is heated using a high-powered laser and the vaporized remnants are drawn into the experimental apparatus through the combined use of a specially designed stem system, carburetion port, and user provided suction. Employing the same suction, users can also orally sample the experiment’s contents at any time for further analysis.
Dimension/Next specifically proposes that the addition of C21H30O2 to the existing Miller-Urey hypothesis of CH4 + NH3 + H2 + H20 has a high chance of producing exceptional results. However, in the interest of scientific objectivity, Miller-Urey Bong is BYOW (Bring Your Own Whatever).
Due to the inherent dangers of Class 4 laser technology, stringent controlled conditions and safety procedures govern the interaction of Miller-Urey Bong. The work will be fully interactive only at specific periods during the installation, however performance documentation will be on view at all times.
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Miller-Urey Bong, 2010 is the tenth exhibition in an ongoing programme curated for Seventeen’s basement space by Paul Pieroni. The exhibition will run concurrently with Susan Collis’ solo exhibition in the main space. AIDS-3D will present a solo exhibit at Frieze with Gentili Apri this October.
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Pakistani Truck Artist Paints Granta Cover – mediabistro.com: GalleyCat
via mediabistro.com
Truck Art lives!
This is nothing you should see whats driving on the roads of Pakistan.
“Foucault’s Teddy’s Bear Reliquary”
This is it, Nikon D3, Raw conversions and downsized for web.
The chamber where all 425 pages (this includes introduction, forward and contents, otherwise there are 397 pages of the book itself).
The Bear is actually bolted onto the table top, to keep it still.
The covers are like an empty skin, a cocoon that this book has hatched and flown from.
Mahmood stuffed it so tightly, I now cant get the pages out of its arms and legs.
Pakistan customs please be kind, and sensible.
Samanabad Teddy’s Bear Shoot, 13th July 2010.
Just through with this shoot, WAPDA actually lasted for 90 mins plus with no load-shedding.
Mehmood has now completed three book transformations with me over the past two years, The Frankfurt School, Peoples Art Historical Garden Centre Project (Image and identity) and now the “Teddy’s Bear Foucault Reliquary”.
Mehmood read the front cover to introduce the book, then called out each page number in reverse order, counting down to page-1.
The location was Jami’s old workshop in Samanabad, near the graveyard.
A very humid and hot evening, post-rains, no fans were on, so as to keep the sound crisp.
The Bear is still being difficult to patinate, but its getting better by the day.
“Garden Palimpsest” Text added, 2nd July 2010
Shots from the 12ft jib-arm this afternoon, Nikon D3 and Camera Control Pro,
A pre-monsoon gloom overhead and unbearable humidity and heat.
I am not sure about the text, just added.
“Place D’Armes”
(though “Parade Ground” has such particular resonance for much of my work and life here in Lahore Cantonment)
Jean Delagrife’s plan has quite a lot of text and this is part of the overall compostion,
-the text actually serves to hold a number of otherwise unactivated spaces in his drawing.
If I keep it I’ll have to add the text to sevaral other spaces.
I feel the text makes the work too literal,I like the ambiguity of the garden plan alone.
Though the text also serves to further seperate Versailles from the Paradise Garden, which could be positive.