© Abre Etteh

Through studies of Charles Ginnever’s sculpture Rashomon, this project explores the concept of animate space.

Rashomon, an open geometric form devoid of right angles or parallel members, presents an intriguing scenario where only the rarest of witnesses could recognize it as the same work from one position to the next.

In connection to this, Sergie Eisentstien commented on the animated body’s ‘plasmaticness’; this is its ability and perhaps willingness to morph. Rashomon affirms philosopher David Morris’ concept of our perception of space as rooted in movement. Movement around the sculpture reveals space as plastic and a subjective experience filtered through our perception. Rashomon`s form captures the plasmaticness of animated space, which Eisentstein saw as the essence of animation.

The approach to the building involved an intimate relationship between artist and environment through movement. The building frames a fluid space constantly in flux based on the position of the viewer. The building acts as an apparatus of viewing consisting of a continuum of views.

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