Petals to Light...Pedagogic Possibilities with Floor Art
(2022)
author(s): Geetanjali Sachdev
published in: Journal for Artistic Research
My research explores rangoli and kolam floor art practices to understand their pedagogical potential for the study of plants. The research involved an analysis of a personal archive of rangoli and kolam images and a series of artistic collaborations. As indigenous art practices, rangoli and kolam have moved beyond traditional media that historically involved powdering rice plant seeds to draw dots and lines with our fingers, and decorating the ground with various flowers, leaves, and twigs. These floor art practices have expanded to incorporate alternative media such as lights, rollers, stencils, coloured beads, and stickers. The pedagogical value of rangoli and kolam floor art practices for plant study lies in the new media and materials that these indigenous ritual practices have embraced. These practices enable interpretations and contemporary adaptations within both traditional and modern contexts, and this allows learners with multi-literacies to access different kinds of knowledge about plants.
Bird → ∞
(last edited: 2025)
author(s): Kirill Arkadiev
This exposition is in progress and its share status is: visible to all.
I work at the boundary where a finite biological object asymptotically approaches zero and, through this disappearance, gives birth to an infinite aesthetic event — a singularity.
The series “Singularity of Beauty” is an ongoing investigation into the moment when decay, entropy, and controlled human intervention collide to rupture the visible world and generate a new, non-representational order.
Method: Asymptotic Ritual
A chosen organic system (bird, bouquet, insect colony, fungal network) is placed on a prepared surface and deliberately abandoned to natural forces — heat, humidity, insects, gravity, time.
During a fixed ritual period (7 days in the current cycle), the object decays following an exponential law analogous to f(t) = a·e⁻ᵏᵗ. The artist is absent; only documentation occurs.
At t → ∞ (practically: when the biological object approaches zero), the artist re-enters as a second asymptotic operator. Selective pigment application, removal of material, and layering transform the residue into a visual limit — a singularity point where the initial object has vanished, yet infinite meaning emerges.
The final state is neither representation nor abstraction; it is the frozen event of the limit itself.
Core Principles
Decay is not a theme; it is the first author.
Time is treated as a physical material with measurable half-life.
Human intervention functions as a controlled perturbation that forces the system past its natural equilibrium into aesthetic infinity.
The resulting image is a palimpsest of two incompatible temporalities: biological time (unstoppable) and artistic time (intermittent, intentional).
The “demon” is not a depicted figure but the mathematical event of the singularity: the instant when order, passing through zero, becomes infinite and alien.
All that glitters and NO black holes
(last edited: 2025)
author(s): Zoe Panagiota (aka Betty) Nigianni
This exposition is in progress and its share status is: visible to all.
Design, 1995-96, 2023. Design, 1996-97. Photography, 2010, 2011. Essay, 2015. Collage Text, 2022.
The exposition serves as commentary and guide on the place of art, in a gradually environmentally and technologically challenged world. I designed this exposition as a 'teaser' on how architects, who work mainly conceptually, might conduct research from different art and media sources, as well as their own broader artistic work. In this art and design context, I further make a commentary on outgrown conceptions of the foreign, in terms of the so-called "exotic', and the non-foreign,within the political context of contemporary globalisation. Thus, I raise open questions on the impact of architecture and design on global politics.
The re-design proposal, inspired by De Stijl, illustrates the modernist historical view that art appears to be regressive, rather than progressive: as soon as a movement or a school becomes established, reaching its culmination, it starts declining.
Finally, I have included a graduate school architectural design project in the archaeological site of Eleusis accompanied by new commentary.
With essay about experimental film making in the British avant-garde, published in "Architecture and Culture" journal, 2015, which is about the environmental challenges of the urban environment. The reference to the TV show "Alone", a competitive prize show of sole or two-person players, is a reminder that humans can live in the natural environment developing survival tactics already applied by their ancestors. I included those references to make hints at the relationships between film, television and contemporary architecture as an artistic medium, in the old-fashioned tradition of architecture belonging to the fine arts.
About how to navigate this exposition:
Scroll from top to bottom, then from bottom to top, then scroll to the top right, then scroll to the bottom right.
For Luke, who I haven't met; with respect and care.