I began reflecting a lot about where I come from, my turbulent relationship with spaces I have lived in during my 6 years living in Dublin city - all of these were temporary and never felt like home. Someone else's belongings lived under my bed. Someone else’s memories, marks and scuffs sprawled across the walls like constellations. This overlap of histories, being both past and present in a space became interesting to me. Since ireland was colonized by britain there has always been a heightened sensitivity and awareness to land, buildings and ownership. There is a stark repetition of history repeating in Dublin currently and maybe this is why I have become so fascinated by the ‘Ghost’ of these spaces I visit. I want to collect souvenirs, portraits and new ways of looking at these buildings. I want an archive which seems permanent.

Ghost of a space

 

Why am I interested in this idea of a ghost of a space? How can I figure out the translation of this ghost into a different space? How can I investigate spaces without the presence of humans? Purely experiencing the space as its own. As an actor or subject?

 

I began my investigation into these questions by first visiting some spaces I have no relationship with. I tried to approach this as analytically as I could as a means of investigation to dissect and X-Ray these spaces as if I were an explorer discovering a new land. The space became the subject instead of my knowledge and relationship with the space.

Ghost Of De Pastoe Fabriek.


I began my investigation into this topic with my surroundings in Pastoe. The following images are from my experimentation over this time. I was interested in the layers of history and finding a relationship between the past and present. 

Introduction

 

If I was not conducting artistic research I would be studying history and archaeology. I was once an aspiring historian and acheologist. I would like to adapt similar methods or movements through the spaces I encounter - akin to an archaeologist on a dig. My previous seesters research topic was to discover the 'Ghost' of a space. I began reflecting on why this topic interested me and this reflection has formed the basis of my collection of meaningful materials 


PLEASE RETURN BACK TO START TO BEGIN EXPLORATION. 

START

Investigative report on buildings I do not have a relationship with 

Report structure 

 

Title  

Investigative analysis of places I am not familiar with in relation to two buildings. 

 

Introduction  

Without a relationship to a space how can I dissect and analyze a building to break down each element with the aim of creating a ghost of the space irrelevant of human interaction or presence – with the exception of myself whose aim is to document this process. Using sound, video, sketching, photographing collecting of colours and textures as well as recording atmospheric qualities such as light, temperature, time of day, weather and smell. I will also include objective descriptions of the space with the absence of human interaction with the aim of documenting each element to be reproduced elsewhere to discover what elements are required or necessary to be a ghost of the original.  

 

Process 

I used multiple methods of recording the space such as sound, video, sketches and used various cameras to get a broad overview of these places. 


Julia Sols Stages of decay 

I became fascinated by the layers of time metaal kathedraal and I wanted to break down and investigate this space further. One element which really stood out to me were the walls and layers of time depicted in the colours and textures  

I began to recreate these layers as a means to understand the space inbetween, thinking of the work of Julia sols her photography on stages of decay a series of abandoned theaters one of the things she wrote really stood out to me:

‘With their abandonment, a whole new drama begins to unfold. It starts slowly at first, with a few open windows letting in the wind and rain, the snow and the spores for the first patches of moss to take hold ... the top layer of paint begins to crack, often in a sharp, continuous stroke that sounds like a clawed animal scurrying across the wall. Plaster ornaments dissolve right on the wiring until they can no longer support themselves… Horsehair, once used to hold together plaster decorations, begins to stick out between structural elements like strange, insect-like antennae… The seats burst ... The stage curtain drops as its fireproof backing splits and bubbles into the mouldy fabric, combining with the deteriorating floor of the stage into a fantastical fungal landscape.’


Layers of time and 'Fossils' 

I became interested in creating 'Fossils' in the form of impressions with various materials. Below is my material exploration of these processes from multiple buildings and locations. 

Skin and Shells

I became interested in the walls of buildings and textures within them. I began recreating them and in doing so trying to explore them spatially and also with the haptic eye. 

Walls and Wallpaper

Paper Mache cast of section from front door front view and back view with residue from doorframe 

Frottage

The technique was developed by Max Ernst in drawings made from 1925. Frottage is the French word for rubbing. Ernst was inspired by an ancient wooden floor where the grain of the planks had been accentuated by many years of scrubbing. The patterns of the graining suggested strange images to him. From 1925 he captured these by laying sheets of paper on the floor and then rubbing over them with a soft pencil. The results suggest mysterious forests peopled with bird-like creatures and Ernst published a collection of these drawings in 1926 titled Histoire Naturelle (natural history).

He went on to use a wide range of textured surfaces and quickly adapted the technique to oil painting, calling it grattage (scraping). In grattage the canvas is prepared with a layer or more of paint then laid over the textured object which is then scraped over. In Ernst’s Forest and Dove the trees appear to have been created by scraping over the backbone of a fish.

That’s how your house gets inside of you—it’s more than just space, and it’s not even space and time, because I think the notion of space and time as separate is a very Western idea. Time and space are always together, and they are usually collapsed into each other. That’s why the process of rubbing seemed so appropriate. It brings up a lot of memories, and it’s also very physical. As I moved upstairs, I changed the material of the rubbing from colored pencil to pastel, which I had to use my fingertips to apply. I literally had to caress every surface with my fingertips, and I started to wear off my fingerprints. I was actually giving up my own body to the architecture. The project became a spiritual quest. As I spent twenty years of my time in that space, my farewell to the house took two years. It was an extended ritual to commemorate my time in that house and my friendship with the landlord before finally departing. - Do Ho Suh on his work Rubbing/Loving

''These layers aren’t only physical—there’s an emotional connection to a place, an accumulation of memories. I’ve always thought about architecture as clothing, or clothing as architecture. Clothing is the smallest, most intimate inhabitable space that you can actually carry. Architecture is an expansion of that. After living in this apartment for some time, I realized that it gave me a sense of protection that was quite physical. It became a kind of skin, and I felt so comfortable that I was almost not even aware of the space around me any more. Eventually, I even started to experience this space as entering inside of me, as if it had shifted from a skin to something like an internal organ. At that point, I didn’t really see the space at all—the apartment became about the orientation of my things, my movement, and my routine inside.'' - Do Ho Suh on his work Rubbing/Loving