The Morphic Excess of the Natural/Landscape in Excess
Installation at the Snow Show in Lapland.
Art Architecture: Engagement with the morphic process – a quiet, non-ironic critique of the formalist and anti-formalist paradigms – brings art and architecture together. We have no preconceptions about form. We do not see snow/ice as an unbounded neutral material. Rather, we animate the frozen and its own morphic language, seeing it as an active psychic process, at once mythic and ordinary.
Enjoyment – Space: Snow/ice is a material of collectiveness and joy. It liberates us from the anxieties of perfection and ownership. In psychoanalytic terms, snow/ice is the material of lack.
The Morphic Principles: Crystal and Archaic Theatre: Snow is falling landscape in excess, nature’s own animation, simultaneously natural and artificial. Eva worked with the concept of the crystal (mythical and structural). Anamorphosis focused on the archaic theatre the spatial condition of play, collectiveness, static function and interaction, turning snow into a performance of itself. We inverted the theater form twice: first, terraces became a sheltered alcove and an extrovert terraced hill and, second screens of ice became a stage for light and shadow play as people walked through the piece.
Realization/Symbiosis: The morphic excess of the natural did not demand that the artwork transcended reality, nor that architecture was simply functional. When it was snowing, Crystal and Theatre spoke the same morphic language, and art and architecture exchanged roles: architecture sculpted the landscape whilst art built and materialized it.