“Conical Intersect is a multivalent work — part sculptural installation, part street theatre, part rectified readymade, part son et lumiÃ¨re — that nevertheless directly addressed timely issues in the urban landscape. As much as the work turned on a spatial intervention, it was its temporal dimension that in the end defined it. Begun in the last week of September 1975, in the mouldering, detritus-filled rooms of a derelict building slated for demolition, the piece was created in labour-intensive daily increments over a two-week span and remained on view until the second week of October, when another small team of workers appeared on the scene to initiate a different mode of deconstruction. Attaching the links of a metal chain around the rear staircase of the building, they worked in consort with a large crane that alternated between smashing sections of the outer walls and pulling apart chunks of bricks and beams. In a matter of hours, the building was reduced to a pile of debris.”
Excerpt from Bruce Jenkins, Gordon Matta-Clark: Conical Intersect, (London: Afterall Books, 2011) 41.
Photo by Deborah Wang, the reader.
“The Paris Biennale  provided [Gordon] Matta-Clark with an opportunity to work with the conical figure of projected light — the material in which [artist Anthony] McCall had rendered what he called his ‘solid light film’ performances. It is perhaps precisely this spatialised manifestation of light that was the inspiration for Matta-Clark’s vision of a ‘sound and light show’. Gerry Hovagimyan, one of the artist’s two assistant in the dusty enterprise on the rue Beaubourg, recalled that ‘Gordon and I talked about [Line Describing a Cone] a lot, and that’s what he was trying to do at Beaubourg. In fact, that was the first total Gestalt image he used in a building. […] Before Conical Intersect he used to chop everything apart.’ This paracinematic aspect of Conical Intersect conjoined, for the first time, Matta-Clark’s filmic ambitions with what he called his ‘anarchitectural’ practice of ‘making space without building it.'”
Excerpt from Bruce Jenkins, Gordon Matta-Clark: Conical Intersect, (London: Afterall Books, 2011) 39.
Photo by Deborah Wang, the reader.
Mark McLean may be a newcomer to Toronto’s design scene, but you’d never guess looking at his Dollar Store Triptych â€” three popular pieces assembled from objects commonly found in dollar stores, objects familiar enough to Canadians that the work resonated with an almost nostalgic quality.
The first panel, at a glance, had a fibrous texture a little reminiscent of an acoustic ceiling tile, but with with a more yielding appearance, and emblazoned with a hand flashing the peace sign.Â Closer inspection revealed thousands of tiny plastic Army men, congealed into a single mass under a thick coat of paint.
The middle panel riffed playfully on the Canadiana so ubiquitous to touristy roadside stores, collaging flag stickers into that most Canadian of icons, the moose.
On the right, landing somewhere between fireworks and household brushes, this series of puffy vortices were impossible to miss.Â Viewers were first sucked in by the unusual yet oddly familiar forms, and then confronted by an irresistible urge to touch.Â The tactile quality of the work was as important as the visual, in this case, and in playing with the work, its true construction is revealed â€” deceptively simple, the entire structure is made of electric fan covers adorned with pull-ties in carefully arranged patterns.
See more of Mark’s work here, or read his blog here.