1 edition of Felicity Hammond found in the catalog.
|Statement||Self Publish, Be Happy|
|Publishers||Self Publish, Be Happy|
|The Physical Object|
|Pagination||xvi, 123 p. :|
|Number of Pages||82|
nodata File Size: 9MB.
I tend to find that my sculptural work comes from far clearer visions before they are constructed.
FH: Capital Growth explores a space in which reality is fused with the virtual world; an area where manufacturing and industrial process has been discarded, and in its place stands computer generated imagery of luxury living, where posters pertain to a better life and a better future. Capital Growth sends an ambivalent message: the work promises growth but shows decay; the installation refers to concrete places while allowing indistinct objects to sink into them like quicksilver.
Felicity Hammond the rate of ocean rise continues to change at this pace, sea levels will rise 26 inches 65 cm by 2100 - enough to cause significant problems for coastal cities. Object in form, the cut out pages are used as a device to reveal Felicity Hammond the rendered image dictates physical space, and how both of these surfaces are at play in the urban realm.
LAST FEW COPIES IN EUROPE REMAINING, SOLD OUT IN US The 21st century has seen a dramatic shift in the way that architecture is experienced. I start by making drawings, like blueprints, mainly of new architectural features. For example, once the exterior walls of a building have been digitally built, they can be clad in a downloadable surface; one which mimics brick, polycarbonate, or concrete.
jpg World Capital, vinyl print 2019 1. She researches the complex processes of urban regeneration, in which sites are often improved Felicity Hammond the expense of original inhabitants and buildings. But rather than the sun-kissed fantasy described by developers, the viewer is invited into a world which anticipates them in ruin. The disregard for the spatial realm in which these visual imaginaries propose to operate is exposed when they are transferred from computer screen to printed matter: the battle between the powerful, speculative image and the city from which it grows are at the forefront of our urban encounters.
1 Ian Nairn, Outrage: The Architectural Review VOL 117, No 702, 1955 365 2 Ibid. In her practice, Felicity Hammond explores the ways in which the urban landscape is imagined. If the CGI is produced in dislocation from the site, i.
In terms of perfectionism within my process, these works actually emerge from a studio full of raw materials, tests, found objects, drawings, and old photographs.
Rather Felicity Hammond merely presenting an image, these representations tell a story of the lifestyle that the site stands to make reality. Through a transnational, digitalised design process — a process that takes place through the screen rather than through embodied experience, a distancing occurs. I then allow the processes that I use between photography and sculpture to inform the final work.
The image is fused to the site; not only through its display, but through its ability to make the site that it imagines materialise.
She is currently undertaking TECHNE funded research in the Contemporary Art Research Centre at Kingston University on digital representations of the built environment and their relationship with site.