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Competition Entries Guy Gardner Hayden Pattullo Jason Johnson Public Art SSHRC Uncategorized

Floq

Date: 2017
Client: Edmonton Arts Council
Primary Investigator(s): Jason S. Johnson, Guy Gardner
Research Assistant:  Hayden Pattullo
Funding Agencies: SSHRC
Budget: N/A
Status: Proposal

The project is composed of a field of brightly coloured discs attached to a grid of thin wires in such a way as to allow the discs to flutter in the wind, reflect light and produce patterns on the spaces around them. The technique is such that we can experiment with various iterations of pattern and symbols in the consultation, design, and fabrication process. FloQ captures the ways in which we move and evolve cities and cultures in response to the one another and the conditions that surround us.

Categories
Alex Wilton Competition Entries Guy Gardner Jason Johnson Matthew Parker Public Art SSHRC Uncategorized

Columnulous

Date: 2016
Client: cSpace King Edward
Primary Investigator: Jason S. Johnson
Research Assistants/ Project Team: Guy Gardner,
Matthew Parker, Alex Wilton
Funding Agencies: SSHRC
Status: Proposal

“Columnulous” is a series of vertical monuments resembling cloud formations, acting as a threshold for entry to the public plaza at the south entrance of the building. Each column is formed in precast concrete and is intended to weather in place. Details from the original 1912 architectural drawings of the sandstone building were sampled and projected onto masses using digital software. By referencing instances from the façade which could be seen from the locations where the columns were placed, the goal was to subconsciously and indirectly draw the viewers’ attention to the patterns contained within the building elevation.

The projected lines were used as restraints as the masses were inflated using a physics engine. The process of inflation could be seen as a way of obscuring or “clouding” these details, so that the viewer could feel free to overlay their own interpretations of the form, in the same way that we project images onto clouds. Several iterations were developed to explore the extent to which the geometries and patterns should be obscured in order to allow for a range of associations.

The experience of interacting with these intentionally ambiguous forms encourages a similar procedure of projecting meaning onto the work. The objects can be read a number of ways at the same time. They resemble both soft, fluid forms, and rigid concrete monoliths. They operate in series and as single sculptural instances. The inscribed patterns reference the adjacent building, but are obscured.