On Connecting Form and Space

text fragment of the written part of my practice based PhD On connecting form and space Once again I used the big tracing drawing (and the underlying boards) as a display structure to allow communicating on reflections on the connecting of form and space. I investigated other possible supports for the tracings, and also other ways of tracing. I used permanent markers and an etching needle to trace forms on plexi. I made some constructions with the plexi to investigate the spatial impact of the lines. The transparency of the plexi reduced the lines to spatial elegant marks. Their form interacted with the space. In a next step I traced forms of furniture with a milling cutter in wood and with a black marker on cardboard. These materials allow making foldings, whereby the tracing drawings become volumes. I investigate the three-dimensional and sculptural possibilities of the tracing drawings, where the (overlapping) forms of the tracings are materialized into sculptural objects. The tracings are an in-between stage in the process of making sculpture with the ordinary objects. They allow me to see the ordinary objects on an abstracted and formal level. The transformation process into three dimensions is about investigating new sizes, materials and possible new functions. In these spatial objects the sizes and forms of the ordinary objects are still present as an echo. I made some plaster forms in a similar way that I made the tracing drawings by using a tracing act. But this time I placed some mirrors on a bed of clay and I traced the forms by cutting though the layer of clay with a wooden stick. I created a void by carving clay away, and I poured plaster in it. The plaster tiles are in a way drawings in three dimensions and could be interpreted as materialized voids. When placed on the tracing drawings again these forms have a direct visual relation with the type of forms on the paper. They interact with the line, but also with the spatiality of the cut-out forms. When different forms are stacked on top of each other, there is a new spatial and sculptural reading because of the curved forms and the shadows on the white plaster that somehow refer to architecture.status: publishe