First half of opening collage...
On Tuesday, I thought the then-new collage would open the narrative. Now that half of the one that I used to call '01' is finished, I'm once again thinking that maybe the story should start with Johnson's glasses reflecting his collection of buildings in New Canaan, the Glass House compound as opposed to the Glass House building, his "diary of an eccentric architect." The story, then, is that of the dying architect slowly shuffling his way through the site one final time, taking in the different buildings, the architectural experiments that he's spent 60 odd years creating.
The images float into each other, reflections - of the buildings themselves, but also of memories - dissolve and linger in a palimpsestic fog of angles and shadows and textures and colours and lines. It's an extruded moment of suspense, somewhere between fear (of knowing one is about to die) and content (viewing the collection, the diary which "is probably complete," as the architect put it in 1993, a final time). I'd like to think that this is what we see in Johnson's eyes, behind those trademark glasses.
I've modelled the Glass House and am setting up renders to get something to work from for the two interior collages. Time to put some touches to the white book, re-brief, and manifesto before tomorrow. Time, of course and as always, is already running out.
Oh, and I keep looking at Vittorio Storaro's magnificent images. The way he works with dissolves much the way a (collage) artist works with layers is really inspiring. Wish I'd brought his books with me from Stockholm - they're well worth having a look at if you haven't already.
The images float into each other, reflections - of the buildings themselves, but also of memories - dissolve and linger in a palimpsestic fog of angles and shadows and textures and colours and lines. It's an extruded moment of suspense, somewhere between fear (of knowing one is about to die) and content (viewing the collection, the diary which "is probably complete," as the architect put it in 1993, a final time). I'd like to think that this is what we see in Johnson's eyes, behind those trademark glasses.
I've modelled the Glass House and am setting up renders to get something to work from for the two interior collages. Time to put some touches to the white book, re-brief, and manifesto before tomorrow. Time, of course and as always, is already running out.
Oh, and I keep looking at Vittorio Storaro's magnificent images. The way he works with dissolves much the way a (collage) artist works with layers is really inspiring. Wish I'd brought his books with me from Stockholm - they're well worth having a look at if you haven't already.
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