After reviewing the photographic documentation of our previous materials, we decided that further exploration into what we wrap the room/objects with was needed, and so this week we focussed on a new angle: Papier Maché.
Inspired by Rachel Whiteread’s exhibition of Ghost, we considered the idea that by casting; we were creating a new object, but thanks to the consistency of Papier Maché, still staying true to its former shape. Much like how Whiteread intended on casting to “manifest an afterlife for an abandoned piece of architecture” (Carley 2008, p.26), we felt that by creating a cast we were almost creating an untouchable outer shell for the object – as opposed to slightly weaker materials as used before. Another trait not dissimilar from Whiteread’s work is the fact that the mould beneath would be saved – “During the casting process the mould is usually destroyed when the cast is created” (Carley 2008, p.26). Whiteread, however, chooses to exhibit the mould alongside the cast, thus providing both a positive and negative imprint of the same object. We would also be presenting both the cast and the mould, but still as one element – with the mould still completely submerged within the cast. This creates focus on the suggestion of shape rather than the actuality of the object thanks to the opaque uniformity of Papier Maché.
As seen in image 1, the cast allowed us to cover every area of the objects – something that proved more difficult with the alternative materials. We began by wrapping the object in cling film to ensure no material was damaged by the use of glue, thus in-keeping with our wrapping technique. The cling film provided us with a clean and smooth canvas to build on top of, enabling us to completely rewrite over the surface of any object, much like how Forced Entertainment, during their piece Nights In This City , “engage in writing over the city” in order to reflect “a moving on from the real city” (Kaye, 2000, p.8), suggesting that the object can only grow and build layer upon layer. The notion of ‘writing over’ an object is also interesting, as once the mould has solidified it would be possible for an audience member to inscribe over the top of it – once again adding another layer upon the top of the original and possibly connecting new meanings to the object.
After discussing the technicalities of Papier Maché, however, we decided that casting was not the answer. The art of wrapping means that the original objects have to remain inside in order for the shape to be preserved. Although we were intending on keeping the moulds inside, this is not a necessity as the cast of the object would no longer require the support – the new model could be freestanding. We felt that this didn’t correlate with how we feel the library maintains its historical elements – the architects could have completely destroyed the building and rebuilt the same identical building but with newer materials. What’s important is, they didn’t. They added to the Warehouse, but they didn’t create a new one. They wrapped it in new architecture, but still kept some original elements. Casting is a different type of preservation, and although it was successful and aesthetically it would look great, it just doesn’t suit the nature of both this project and the transformation of the building. Therefore, Papier Maché is not the answer.
Works Cited.
Carley, R. (2008) Domestic Afterlives: Rachel Whiteread’s ‘Ghost’, Architectural Design, 78(3) 26-29.
Kaye,N. (2000) Site-Specific Art: Performance, Place and Documentation. London New York: Routledge.
