Sofía Jack
26 Apr - 03 Jun 2006
SOFIA JACK
“The B-300 House” gathers several works around the idea of the relationship between the ideal house — dubbed B-300 by Sofía Jack — and the life developing inside or around it. Also from how, through the flow of unforeseen and also incontrollable events, it must display a series of mechanisms to adapt to new circumstances, leading to ways of life not completely controlled.
The main piece is a computer animation movie (with music by Da Costa) where the contrast between the machine’s operation, rendered up to the last detail, perfect in its cohesive structure, with the reality of having to adapt to specific living conditions, for which the accidental element has a lot of importance — a split between the idea and the thing that, on the other hand, is the basis of modern architecture and thought.
The series is conceived through elements close to science-fiction, although the concept’s undertone is purely organic, since its author is interested in speaking with a symbolic language of the origin of life and the needs of beings to adapt to the medium where their existences develop.
Along with the animation work, there are others thematically related. One of them is the scale model of the house itself, made in a glass block, showing the software through which the perfect operation of the house is ensured, and with also the possibility of adapting to new circumstances. This software is like DNA, possessing all the information on the dwelling, and depending on the environs, activating the necessary mechanisms.
The exhibition also offers other works related to the main idea. For instance, several series of drawings — e.g., around the film “Casablanca”, a sponge cake recipe or the erratic journey of a fluff — also computer-made, pose stories told through successive fragments in a certain chronological order, much in the way of comics (and with this substantial difference as to the previous drawings in the series “The zebra and the prisoner”: a striking presence of colour). Each one tackles the eruption of life in the house as a metaphor of perfection, and how such interference generates accidents. Other works are loose images, mutually related but without specific narrative links. There are also small sculptures, an electronic circuit made on a very thin rustproof steel plate cut with a laser featuring diverse figures or spaces, such as a Shiva goddess (a humoristic representation of the woman with eleven arms and multiple capacities), a drawing of a man as an electronic circuit but as if he had acupuncture pins, and then a plan of the house.
The whole work is completed with another computer animation, “Embankment” (with music by Nad Spiro), that is a variation on a fragment of the more extensive B-399 House.
© Sofía Jack
Untitled (Cielo con nubes), 2006.
Digital printing on metacrylate
33 x 48 cms.
“The B-300 House” gathers several works around the idea of the relationship between the ideal house — dubbed B-300 by Sofía Jack — and the life developing inside or around it. Also from how, through the flow of unforeseen and also incontrollable events, it must display a series of mechanisms to adapt to new circumstances, leading to ways of life not completely controlled.
The main piece is a computer animation movie (with music by Da Costa) where the contrast between the machine’s operation, rendered up to the last detail, perfect in its cohesive structure, with the reality of having to adapt to specific living conditions, for which the accidental element has a lot of importance — a split between the idea and the thing that, on the other hand, is the basis of modern architecture and thought.
The series is conceived through elements close to science-fiction, although the concept’s undertone is purely organic, since its author is interested in speaking with a symbolic language of the origin of life and the needs of beings to adapt to the medium where their existences develop.
Along with the animation work, there are others thematically related. One of them is the scale model of the house itself, made in a glass block, showing the software through which the perfect operation of the house is ensured, and with also the possibility of adapting to new circumstances. This software is like DNA, possessing all the information on the dwelling, and depending on the environs, activating the necessary mechanisms.
The exhibition also offers other works related to the main idea. For instance, several series of drawings — e.g., around the film “Casablanca”, a sponge cake recipe or the erratic journey of a fluff — also computer-made, pose stories told through successive fragments in a certain chronological order, much in the way of comics (and with this substantial difference as to the previous drawings in the series “The zebra and the prisoner”: a striking presence of colour). Each one tackles the eruption of life in the house as a metaphor of perfection, and how such interference generates accidents. Other works are loose images, mutually related but without specific narrative links. There are also small sculptures, an electronic circuit made on a very thin rustproof steel plate cut with a laser featuring diverse figures or spaces, such as a Shiva goddess (a humoristic representation of the woman with eleven arms and multiple capacities), a drawing of a man as an electronic circuit but as if he had acupuncture pins, and then a plan of the house.
The whole work is completed with another computer animation, “Embankment” (with music by Nad Spiro), that is a variation on a fragment of the more extensive B-399 House.
© Sofía Jack
Untitled (Cielo con nubes), 2006.
Digital printing on metacrylate
33 x 48 cms.