Negative_Positive

Anderson, B

Negative_Positive

Anderson, B

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Publisher:: National Theatre Wales
Publication Type:: Exhibition
Citation:: For Mountain, Sand and Sea

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Field	Value	Language
dc.contributor.author	Anderson, B https://orcid.org/0000-0002-8387-340X	en_US
dc.contributor.editor	Rees, M	en_US
dc.contributor.editor	Anderson, B https://orcid.org/0000-0002-8387-340X	en_US
dc.date	2010-06-25	en_US
dc.identifier.citation	For Mountain, Sand and Sea	en_US
dc.identifier.uri	http://hdl.handle.net/10453/32232
dc.identifier.uri	http://hdl.handle.net/10453/17587
dc.description.abstract	Postive_Negative was conceived as a two-prong sculptural installation. Positive, a two-dimensional series of recognisable boat forms, and Negative, a spatial alien not concerned with any sense of assimilation to site. It formed part of a series of visual art and site-specific performances commissioned by National Theatre Wales for the town of Barmouth, co-artistic directed with my long-time collaborator Marc Rees. The project: For Mountain Sand and Sea combined the challenges of conceiving visual and performance art that could be in part understood, enjoyed and stared at by the town's inhabitants and the volume of day and weekend trippers. The design for Positve_Negative strove to connect with the town's rich maritime history but my idea, devoid of sophistication to the technical craftsmanship of boat building, was informed not from the complexities of compound curves and streamed ply but from plastic model kits of fighter jets and PT boats, hailing from such famous brands as Revell and Airfix. Abstracted representations of bow, stern, ribbing, decking, cabin, sails etc., were cut from sheets of ply, forming the positive sections of boat construction. Positive was assembled in a series of snap-out frames scaled up to 5 meters in height and installed in an interior space. The leftover negative forms of the ply, Negative, were installed on a concrete foundation of a deceased building. Its conceptual core was to engage an audience by positioning their bodies to each other. Taking or remembering Daniel Libeskind's 1980s intersectional drawings as plan, bodies passing through the series of cut-out ply sheets would need to negotiate others likewise negotiating. Performances of error would result when bodies collided and non-programmed choreographies would result.	en_US
dc.publisher	National Theatre Wales	en_US
dc.relation.ispartof	For Mountain, Sand and Sea	en_US
dc.title	Negative_Positive	en_US
dc.type	Exhibition
utslib.location	Barmouth, Wales	en_US
utslib.for	120399 Design Practice and Management not elsewhere classified	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
pubs.organisational-group	/University of Technology Sydney/Strength - CCDP - Contemporary Design Practice
utslib.copyright.status	open_access
pubs.place-of-publication	Barmouth, Wales	en_US
pubs.start-date	2010-06-25	en_US

Abstract:

Postive_Negative was conceived as a two-prong sculptural installation. Positive, a two-dimensional series of recognisable boat forms, and Negative, a spatial alien not concerned with any sense of assimilation to site. It formed part of a series of visual art and site-specific performances commissioned by National Theatre Wales for the town of Barmouth, co-artistic directed with my long-time collaborator Marc Rees. The project: For Mountain Sand and Sea combined the challenges of conceiving visual and performance art that could be in part understood, enjoyed and stared at by the town's inhabitants and the volume of day and weekend trippers. The design for Positve_Negative strove to connect with the town's rich maritime history but my idea, devoid of sophistication to the technical craftsmanship of boat building, was informed not from the complexities of compound curves and streamed ply but from plastic model kits of fighter jets and PT boats, hailing from such famous brands as Revell and Airfix. Abstracted representations of bow, stern, ribbing, decking, cabin, sails etc., were cut from sheets of ply, forming the positive sections of boat construction. Positive was assembled in a series of snap-out frames scaled up to 5 meters in height and installed in an interior space. The leftover negative forms of the ply, Negative, were installed on a concrete foundation of a deceased building. Its conceptual core was to engage an audience by positioning their bodies to each other. Taking or remembering Daniel Libeskind's 1980s intersectional drawings as plan, bodies passing through the series of cut-out ply sheets would need to negotiate others likewise negotiating. Performances of error would result when bodies collided and non-programmed choreographies would result.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/17587