CASA NO TEMPO

An Exercise in Heightening Perception:

In creating art work it effects how we see. Through simple direction and demonstration we can encourage a individual way of seeing. When gathering natural elements to add to an instillation we see the world with a new intensity. With this choice, our walks take on a new purpose. The beauty in seeing. 

We look at the connection to the earth, how an individual before us has chose to interpret the works. Although a guest does not meet the previous guest they have a shared experience and can observe some presence of the person before - Offering a connection beyond communication of language.

The feeling of earth makes us feel alive and present in our bodies. The senses become switched on and we are connected to nature but also to ourselves.

Luxury of experience, exploration, freedom of choice, nature and connection. The physicality of experience through the body is inclusive. We all can share an experience of which our interpretations will be individual - We are creating living, shared sculpture - working with nature in a way that is renewable, sustainable and impermanent. A dialogue with the materials, elements, nature, space, animals, architecture and each other.

SCULPTURAL OBSERVATION POINTS

1. Bench - Made from 20ft beams from the original Santa Clara building

2. Charcoal  - Posts charred to echo the cork trees harvested

3. Stack - Low seating area, granite from Casa No Tempo window mantles

4. Cloud Mirror - Elevation point, grey marble becomes cloud mirror

5. Neolithic  - From the platform you step up and see the thousand year old sculpture

CASAS NA ARIEAS

Learning through Bodily Action:

Learning through action. All of these practices are for the Silent Living Properties but they are also simplistic, primitive practices - These rituals are transferable, experienced in the Silent Living properites they can be adapted and adopted for future use in other places. Demonstrating how a simple action like moving sand can make a philosphy felt in our bodies.

CABANAS NO RIO

SANTA CLARA: Drawing Instructions

Drawing instructions are dictated by one person and drawn onto small postcards by the ones listening. The drawings should be made relatively rapidly to avoid excessive contemplation and judgement of one’s own drawings, the focus being an exercise in minimal mark making.

Ask the drawer to ‘blow’ and ‘tear’ at the end of each drawing. The blow is to make a breath connection to the drawing, blow away any excess charcoal, tear the drawing from the book and put it to one side. So as to finish and give a sense of completion.

Once the drawings are completed they can be compared and exchanged with other guests and or sent as a postcard