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GALLERY ADAGIO

91 Glebe Point Road

Glebe NSW 2037

P (02) 9552 2833

F (02) 9571 1899

Opening Hours:

Tues - Sunday,

11am - 6pm.

William Lungas

Artwork by William Lungas

 

Artwork by William Lungas

 

Artwork by William Lungas

 

Artwork by William Lungas

 

Artwork by William Lungas

 

Artwork by William Lungas

 

Artwork by William Lungas

 

My work is situated within the context of a memory of architecture and an architecture of memory. Architecture and memory exist analogically in a relationship which is given meaning by our individual memories and experiences. Memory and architecture can be perceived as constantly unfolding in their ability to hold meaning in our lives. The architect and theorist Aldo Rossi suggests there is a strong connection between the archaeology of the vessel and the architecture of memory. Artifacts are the containers of events carrying the memories of the past; accordingly, they frame human histories. Architecture, too, creates frames that organise space, consequently Elizabeth Grosz refers to architecture as a means of locating oneself amidst chaos, (framing chaos). Grosz also talks about remembering and forgetting – selectively letting go of the past in order to live in the present. The tug of war between remembering and forgetting is a strong element that I am exploring in ARCA-TYPE.

 

ARCA-TYPE is directly linked to archiving and the arca. In medieval times, an arca was a memory box, a container of past memories. Carolyn Guertin refers to the arca as a major architectural metaphor used to describe the memory of space. We can find arca in words like ark and archive – our stored documents of collected memories. The inside space in my work is revealed as a dense system of dark matter – the void is articulated as a dense repository of memories – the ghosts of forgetting. These sculptures become a site of chaotic memory and exemplify the architecture of memory. Perhaps they become an articulation of memory that superimposes past and present and verifies the absence/presence of the lost. They behave like fossils in revealing their intricate construction of a past trace.

 

Furthermore perhaps they can be regarded as the doubles – the mirror images of their skins? Freud talks about the double in his essay The Uncanny referring to the ‘immortal soul’ as the true double of the body. The double for Freud is an ‘energetic denial of the power of death’. When memories are discarded and forgotten their function is reversed and their double in turn becomes the opposite of immortality, namely death. Thus my work perhaps denotes a repressed fear of death as they are manifestations of forgetting – discarded memories according to Freud’s theory of the uncanny through the process of repression.Hence ARCA-TYPE can be regarded as a writing with traces and a writing of traces. Through this installation the work will redefine the space and create a new memory. Although my works are an articulation of space devoid of skin, they also produce a new skin, a new surface articulation, and this is part of the artist’s process that relates to personal memory.