Two Tints

Burns, D

Two Tints

Burns, D

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Publisher:: -
Publication Type:: Exhibition
Citation:: What Destroys What

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Field	Value	Language
dc.contributor.author	Burns, D	en_US
dc.contributor.editor	Burns, D	en_US
dc.contributor.editor	Spurr, S	en_US
dc.date	2013-11-21	en_US
dc.identifier.citation	What Destroys What	en_US
dc.identifier.uri	http://hdl.handle.net/10453/32717
dc.publisher	-	en_US
dc.relation.ispartof	What Destroys What	en_US
dc.title	Two Tints	en_US
dc.type	Exhibition
utslib.location	Firstdraft Gallery	en_US
utslib.for	1203 Design Practice and Management	en_US
utslib.for	1201 Architecture	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
utslib.copyright.status	open_access
pubs.place-of-publication	Firstdraft Gallery	en_US
pubs.start-date	2013-11-21	en_US
pubs.rights-statement	This project addressed ideas of reflection and infinity in site-specific architectural installation. It continues my research into the use and misuse of common architectural materials to create new and unexpected experiences in the context of the art gallery. Two Tints consisted of two sheets of reflective window tinting, hung by clips on standard photographic c-stands that are normally used for lighting photography studios. The two sheets of tinting were placed back to back, so that the reflective properties of the material would create a ‘room’ within the gallery; from the inside the viewer could see out, but from the outside, the viewer would be partially hidden by the mirrored surface. This project engages with the architecturally-inspired art of Dan Graham, specifically his garden pavilions of the 1980s in which Graham used two-way mirrors to create indeterminacy in the visual and spatial awareness of viewers. The project also references the use of reflection in the work of Modernist architect Mies van der Rohe, specifically in the Barcelona Pavilion’s placement of the Georg Kolbe sculpture in proximity to the reflecting pool and glass walls, in this case replacing the figural sculpture with the viewer to complicate and enhance the viewer’s experience. Additionally, the installation was placed in a location within the gallery that allowed it to respond directly to the other work in the exhibition, creating a moment of conflation in which the exhibition was flattened onto the surface of shimmery material. Two Tints was included in the exhibition What Destroys What at Firstdraft Gallery, Sydney.	en_US

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http://hdl.handle.net/10453/32717