The Broad Museum in Los Angeles announces its strong geometrical form and presence, enticing the eye both from inside and out.
The pierced honeycomb structure allows light to penetrate the interior, hitting, lifting, bouncing, elevating and illuminating with patterns, reflections and shadows, creating a shifting world of virtual art. Daylight on the exterior surfaces creates yet another world, less subtle and less playful, as early morning passes to noon and beyond to dusk, twilight and night, which illuminates with distinction the myriad cellular indentations.
‘Architecture should speak its time and place, but yearn for timelessness'. Frank Gehry
Existing comfortably within the passage of time, these buildings exude permanence, while indicating the role they play in society, and the relevance of the materials and technology used.
The sites seen here were all built in the 20th century and have not yet stood the test of time. However, I believe that the aesthetics of their form and structure, while appearing to dominate, are closely aligned to their function as museums, research institutes, concert halls and public spaces, and ultimately will lend them timelessness.
Absence of Presence
Multifaceted fragments bouncing off reflective surfaces appear as if in a kaleidoscope.
Patterns and movements created by the dispersion of light, are reminders of an impermanent presence, fractured by glass, metal, water and air.
Where there are no trees
balconies small if at all
and views congested
by all the towers tall
expansion of glass mirroring
others in alienation
no sound of birds
or light flutter of leaves
in these urban spaces
where there are no trees
Speaking of Blue
Caste from sky or sea
Intentional use is muted
Spectral color of lightness, hue, tint & shade
Provides a subtle and calming palette
Ode to Martha
The distinctive Brugmansia, Angle Trumpet flower, was chosen as a metaphor for dance, in particular that of Martha Graham, 20th century pioneer of modern dance.
When arranged, the fullness of the Brugmansia blossoms echoed Martha’s use of full and tubular skirts, as well as the unusual movements and intimate, sensual energy of her choreography.
Most of her early works were set against spare backgrounds, using simple, abstract props and were photographed in B&W, thus the choice for this series. The intentional space or void between the groupings allow for personal interpretation.