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http://hdl.handle.net/1942/33529| Title: | Standing Sources Instalation | Contributors/Performers: | DA CONCEICAO CORREIA DOMINGUES, Patricia | Issue Date: | 2019 | Abstract: | The installation is an imaginary 3D model, a scale representation not of the geography of the planet, not even of the monuments, devices, artefacts and industries that foment processes of materialization; but a scale representation of universal gestures, such as the desire to find something, to identify, possess, fragment and transform it. | Keywords: | Installation;Silicon;Reconstructed Marble;Stone cutting;Landscape | Document URI: | http://hdl.handle.net/1942/33529 | Link to publication/dataset: | https://athensjewelryweek.com/2019/participants/central-exhibition-invited/patricia-domingues/ | Discipline: | multidisciplinair | Research Context: | Exhibition done within my Phd research 2016-2020. Landscape - Object and Infinite A concept of infinity and objects as symbols of a process. Promotor: Prof. dr. David Huycke Co-promotor: Dr. Nadia Sels | Impact Description: | Standing Sources Standing stones were almost certainly intended as permanent place markers which would fix a part of their creators’ identity into the soil. Menhirs were normally unshaped stones, but in some cases, stones were being transformed into axes, emphasising the metaphor of wilful transformation and dominance over ‘nature’ and ‘natural’ forces. Their blades forced down into the ground, in a basic way these static, standing stone axes represented an act of force, violence, authority and control, an intervention in the world. Through its clearance and large-scale modification, the land had been transformed from something which was a subject of human endeavour into an object of human authority and control. Over the last century, mining has changed and transformed the landscape at an unprecedented rate. In direct contrast to the constructed materiality of menhirs, mining has created an excavated materiality, often hidden from our daily lives. And yet our physical and material realities are a reflection and a consequence of the digging gesture. Thus, the materiality of the world is not merely culturally constructed but culturally excavated and this relationship is often dismissed – turning the world into an agglomerate of alienated objects and materials – their original sources and way or circulating within the planet impossible to distinguish. The Standing Sources installation brings together a recreation of two materials that, at different times in history, have been revealed to be dominant and crucial for the growth of mankind’s culture. Marble is a metamorphic rock composed primarily of calcite. It is formed when limestone is subjected to the heat and pressure of metamorphism and usually contains other minerals, such as clays, micas, quartz, pyrite, iron oxides, and graphite. Because of its softness and the large quantities present in the Earth’s crust, marble has been the preferred material throughout various civilizations for constructing some of mankind’s most majestic monuments. The history of silicon doesn’t go as far back as that of marble. Although it is the eighth most common element in the universe by mass it very rarely occurs as a pure element in the Earth's crust. It is most widely distributed throughout dusts, sands, planetoids and planets as various forms of silicon dioxide (silica) or silicates. More than 90% of the Earth's crust is composed of silicate minerals (including marble), making silicon the second most abundant element in the Earth's crust (about 28% by mass) after oxygen. It was only in 1823 that Jöns Jacob Berzelius discovered a way to isolate and purify the chemical element, with the symbol Si and atomic number 14, into a powder. Since then, because of the material’s semiconductor qualities it has become one of the most important materials in the development of modern technology. It is used in every chip and microprocessor existing the world. More recently, silicon has also become a key material in the solar panel industry and because it is also one of the elements present in the human body is often used in cosmetic products. The installation is an imaginary 3D model, a scale representation not of the geography of the planet, not even of the monuments, devices, artefacts and industries that foment processes of materialization; but a scale representation of universal gestures, such as the desire to find something, to identify, possess, fragment and transform it. | Related Info: | Athenes Jewellery Week and Benaki Museum | Category: | AOR | Type: | Artistic/designerly creation |
| Appears in Collections: | Artistic/designerly creations |
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