the armchair superhero manifesto

what started as a few notes in the back of a sketchbook on the way to uni one day has since turned into a lifelong obsession - to compile a personal manifesto as to what it is i am trying to achieve through my artistic practise. although not really a manifesto as such just yet, more an ever-growing list of ideas and concepts that is constantly added to and subtracted from, it has helped me better define some my ideas and concepts. some of the concepts/statements repeat themselves over and over again, so one day in the future when i have the time and patience, i will tighten some of these up a wee bit.

i don't know if it will eventually make some of the concepts behind my work easier for some people to understand, or whether it will just come across largely as a huge pile of art-wank. be warned - i have pages and pages of this stuff!

so here is an extract from it: (thank goodness for cut and paste!)
(art no longer a model of creativity and expression, but as a process of dislocation / disruption)
- An investigation into architectural genres in artistic terms
- Sculptural collision between "void mental space" and matter+objects
- Architectural dislocation and inversion
- Modernist ideals of systematic objectivity
- Renewed haptic experience of constructed space
- Superfluous architecture in a minimalist sense
- A personal reconstruction of left-over space
- Maquettes of a visionary low-tech architecture
- Representations of an individualistic reality
- The occupation of negative space, or rather, the non-occupation of positive space
- Sense of tension through the introduction of deconstructavist elements
- The idea of multiplication is implicit in a construction. -> Mass production
- The occupation of negative space, or rather, the non-occupation of positive space
- Rendered façade with a pop aesthetic
- Eradication of extraneous and distracting visual elements
- Visible content and invisible institutional frame
- Ways to counteract the static nature of singular objects
- Reconstruction leads to emergence of a sufficiently transparent and diaphanous place
- The extent to which modern architecture can intervene into pre-established historical settings
- Sculptural language bordering on parody
- Room dividers – components dismantling and fracturing ambient light
- a cartoonish representation or response of architecture rather than actually being architecture itself.
- permanent construction derisive of the historical buildings that have lasted for centuries
- vehicles for concepts about visual perception, re-presentation
- various forms of abstracted architecutre
- parodies of historical forms
- suprematist/minimalist bloodlines (postmodernist self-reflexivity)
- geometric abstraction
- minimalist seriality and machine manufacture
- constructavist geometry as pure abstraction
- architecture with a multiplicity of functions + experiences (simultaneous)
- establishing a point of tension with the architectural ensemble
- ethereal, immaterial qualities, integrating art with architecture. creating a dynamic interplay between viewer, object and room