The labyrinth of architecture comprising the neighborhood contained intimate alcoves of acrylic paintings on display salon style and sculptures made of natural materials like metal and wood. Many of these sculptures were meant to personify lwas, “spirits,” in the form of repurposed electronic devices and found objects from the surrounding industrial areas.
Those decisions are all that a designer might call “bad design choices,” but I embrace crude amateur design methodology, again, as a way of combating an overly academic approach and creating a tension between the place of elite, serious culture and a more generative, ridiculous, for no reason, playful, culture.
Once we started, we realized that publishing editions really allowed us to play to the advantages of being an artist-run space. The project allows us to facilitate the production of work that might be outside an artist’s usual practice or capability, it keeps us interested in the long term, and it gives us a way to offer our audience original work at an affordable price.
In doing so, the artist is sensitive to the natural physical properties of the stones’ veins, textures, and densities. This affects not only the way Hofmann’s stones are shaped toward depiction, using the veins or sediments to persuade the image, but also some sense of shadowing a stone’s life as a particular rock encountered in the field.