![]() Each strand which comprises Mercury uses three different elements: LED tubes, oversized stone beads, and massive suede tassels. Mercury is an installation using 35 separate strands to create a screen of light, stone and leather. The human axis is also accented by two hand blown glass globes, representing areas of habitability. Finally, in order to highlight the more human-centric areas from the larger, more noticeable mechanisms of the spacecraft, different finishes were used for each of the axes: the mechanical axis is a perfect polished nickel, while the human axis is a darker, hand-worked finish. Moreover, these modules, while all brass, have used different manufacturing methods, as a way to represent the different philosophies which are inherent to the different elements of the station. The entire piece is comprised of smaller modules in repetition, to harken back to the "add-on" nature that has been such a part of the ISS' making. MOU (Memoranda of Understanding), of course takes its cues from the form of the ISS, but also from the key concept of assemblage. From a functional approach, one can see that it is also an assemblage of instruments and tools with more human concerns of habitability. From a nationalistic point of view, one can see the amazing cooperation between governments and cultures that wouldn't otherwise be collaborating. ![]() From a chronological approach, one can see the changes of plans, or sometimes seemingly "add-on" nature of certain elements. As one looks at the physical components of the ISS, one can begin to read into the other layers of this conglomeration, using them as keys to the full story. The parachutes then provide a sense of relief twice over - in their physical capacity to save and in the salvation of their messages.įor Progressland, curated by Andrew Zuckerman for Chamber Gallery, Bec Brittain created a fixture inspired by the International Space Station.Ī primary quality of the ISS is that of assemblage assemblages of parts, of philosophies, of people and cultures, of governments. Each “parachute” has a message about radical equality and community, addressing the inadequacies of our current society. I created patterns in the fabric by encoding messages using a telegraph code and interpreting that through color. Once I began working with the parachute patterns, I saw the opportunity to add another layer of meaning. I hoped to capture some of those fleeting moments in the patterning of the parachute like moments of light frozen in time. Through moments of shared refraction, reflection and shadow, connections are drawn from the character of the parachutes – and the patterns they typically display – to some of my past pieces. Taking cues from the movement of the inflated parachutes, these are collection of fluid forms that mimic the rhythm of flowers in the wind. Born from my fascination with NASA’s wind tunnel testing of parachutes, Paraciphers take flight in the concept of structures that are brought to life by air, designed with function in mind.
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