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Mattias Lind

mattias lind, a partner at scandinavian practice white arkitekter, has developed ‘chameleon cabin’ a house constructed entirely from paper. as the name suggests, the structure changes its appearance depending on the viewer’s perspective, comprising dual black and white façades. looking to explore the limits of the renewable and versatile material, the modular design has the potential to be extended to several hundred meters if required.

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Frank Poor

When he first began crafting his multimedia works, artist Frank Poor drew inspiration from his childhood home, using old photos as a foundation for his delicate basswood sculptures. Now, the Rhode Islander takes his cues from other buildings he photographs—often abandoned ones, which invite onlookers to wonder about the people who once lived in them. Such was the premise for Locust. “I’m drawn to it somehow,” he says, adding that it reminds him of the Georgia farmhouses he grew up around. For this work, Poor sketched the house’s basic structure, then cut pieces of basswood to build its frame. After gluing the pieces together, Poor hung the resulting sculpture against the photograph, which he’d altered to exclude the building’s framework. “I’m removing the 2D house and replacing it with a 3D version,” he explains. Poor likens the house in the original photo to a cicada shell: The building is an “encasement that has been emptied,” he says. “Life has left it, but it has left its impression.”

House - Gowensville, SC, 2021, basswood, Baltic birch plywood and inkjet print, 96” x 36” x 26”

Windows – Elk Creek, VA, 2024, glass, digital transparencies and wood, 32” x 47” x 2”

House – Meridian, MS, 2020, basswood and inkjet print on rice paper, 16” x 34.75” x 9.5”

He is motivated by nostalgia and his architectural sculptures evoke the concepts of place, time and memory. His work tries to hold in one place what is there and what is gone and missing.

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The Perfect Home II Made from translucent nylon fabric and meticulously hand-sewn, ‘the perfect home II’ continues the artist’s study of mass global migration, the process of finding a home, and the notion of permanence. the installation reflects upon do ho suh’s own history of migration and displacement — born in seoul and immigrating to the US in his twenties — and centers on the idea of personal and cultural identity.

for him, in re-creating his former homes, the artist resurrects the memories of living within them, and emphasizes the connection people have to physical spaces. visitors to the brooklyn museum are able to walk through the work, inhabiting — even if temporarily — the apartment and the artist’s memories.

the installation reflects on the artist’s sense of impermanence

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Femke Dekkers

Dekkers explores the tension between static architecture and the illusion of painterly perspective to find free space for sculpture and painting to intermingle. Using a camera for perspective she treats three-dimensional space, framed through the lens, as a canvas: a surface that allows her to look for new spatial alignments.

Painted picture 3, Pigment print on fiber based paper (wooden frame) 63 x 50 cm 2014.

Painted picture 5, Pigment print on fiber based paper (wooden frame), 63 x 50 cm, 2014.

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Pim Palsgraaf

Pim Palsgraaf, Reflections of Emptiness 07, Wood, stained wallpaper, metal, 190 x 50 x 145 cm, 2021. Pim Palsgraaf is inspired by decay and irregularities in the city. The discord between nature and urbanity are relevant topics and perspectives in meta-modernistic thinking. Palsgraaf’s work is a result of an ever-deepening investigation into the erosion of the inner city. Empty spaces – old corridors and ceilings that are about to collapse and where nature is stepping in to take over – nourish his fascination for this process. In his work Palsgraaf focuses on the lines of  perspective from which we build the world around us. For a while, Palsgraaf worked within the existing systems of how to draw the world around us, but a few years ago he decided, rather, to investigate the fundamentals of the world around us. The fundamentals, according to Palsgraaf, are in how people construct the world around them. This often leads to dualisms in society. Nihilism and consumerism, irony and naive informality live side by side and simultaneously. Palsgraaf decided to investigate his own perception and spent five days in a completely enclosed dark room, without time or noise. It soon became clear to Palsgraaf that time is only a concept, perception a construction of the mind. He decided to continue with these discoveries and to investigate how he could interweave these findings and translate them into his work. His aim is to convey his experiences of time and perception and to bring the viewer into a moment of silence and total doubt, in which all the hold of the world is completely gone.

Pim Palsgraaf, Burn your bridges 13, Wood, stained wallpaper, carton, 40 x 50cm, 2021.

Pim Palsgraaf, Traces of existence, Wood, stained wallpaper, metal, 320 x 180 x 210 cm, 2017.

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Gordon Matta-Clark. Bingo. 1974

Curator, Laura Hoptman: Gordon Matta-Clark was trained as an architect. His work took on a lot of different guises at the very beginning of his career, at the beginning of the 1960s, and it wasn't till his first cutting experiment in 1971 where he really took on what he called “anarchitecture.” And that is the idea of a kind of literal deconstruction of architecture to see how it was made in conjunction with or in opposition to the human beings who would inhabit it. Narrator: Matta-Clark made Bingo in 1974 by cutting into the facade of a house in Niagara Falls, New York that was slated to be demolished. Laura Hoptman: This was a period of time when a lot of buildings had been condemned or were rotting. So by making an artwork out of these abandoned houses and abandoned industrial sites, he was drawing attention to them. Narrator: He cut through the walls in frame of the house, creating nine equal sized rectangles that resembled the grid of a Bingo game card. This sculpture is made from three of those pieces. Laura Hoptman: So that's why you see some of the interior. And when you see the stairway, you're seeing both the front side and the back side of the facade. Narrator: The artist and a team of assistants worked 12 hours a day for 10 days to cut and remove the facade. Laura Hoptman: And as soon as he and his crew left, the bulldozers came and bulldozed the house.

Gordon Matta-Clark. Bingo. 1974, Building fragments: painted wood, metal, plaster, and glass, three sections, Overall 69" x 25' 7" x 10" (175.3 x 779.8 x 25.4 cm).

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Pablo Rasgado

Within Pablo Rasgado’s Work, the surfaces of the walls often are the detonators of his research, which are revealed as evidence of complex situations that lie underneath them, and by doing so, they highlight features of the site that usually remain invisible.  His interventions in urban spaces draw their conclusions, by the information gathered though the study of the accumulated social experience within an architectural setting. They try to place the attention towards an inquiry about history, function and form by questioning the relationship between function and design within specific contexts; the analysis of urban change and its cultural value; and the potential of inactive spaces within cities.

Pablo Rasgado, Mural , 2019, Construction materials from the demolition of a house, 244 x 760 cm.

Pablo Rasgado’s work transforms ordinary materials from public and institutional spaces into compelling abstract compositions. By reappropriating fragments of painted walls—whether from city streets or temporary museum installations—he captures layers of visual and social history embedded in these surfaces. His approach preserves the essence of a moment, frozen in time, yet recontextualized. Rasgado’s Unfolded Architecture series, for instance, abstracts specific moments in museum and art history, echoing a conceptual homage to Mexican muralism. Rather than illustrating historical scenes, Rasgado utilizes fragments of everyday walls, rich with contextual layers, to create abstractions that resonate with historical depth. Through this innovative reuse of space’s “background” materials, Rasgado forges a direct connection to Mexico’s artistic past, infusing his work with the physical residue of lived experiences and cultural narratives.

Pablo Rasgado, When the symbols shatter, 2019, Structure in wood, light, and acrylic, 144 x 62 x 14 in., 366 x 158 x 36 cm.

Pablo Rasgado, Ventana, 2019, Bricks, 52 x 66 in., 133 x 168 cm.

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Romana Ruban - JONAS

Jonas or The artist at work  is written by Albert Camus. Plot of this story is about impossible, the desire to create, searching himself in painting, problems in relationships and sacrificing himself to his family and creations. It`s all about tragedy of artist`s life. I had faced with objective to include hand-printed illustrations with some transformation and performance of  page`s ply. I hope that I made it as well as I planned. All illustrations are made in etсhing and aquatint - strong and simple graphic technique, that’s why reader will not go under unnecessary imposed associations and details. Characters was depicted with linear emotional drawing, it`s contrasted with text about false coloured life of painter. Bookcover is covered with blank white canvas, it`s describes last significant painting of Jonas. Main illustration is in the middle of the book block. It is façade of windows. Different moments of artist`s life  are arranged in every window. Reader can put book and transform illustration like a yard. Then viewer can pry for artist like unfriendly neighbors. Reader can observe all happiness and misery of artist`s family. This is studying project includes illustrations, page-proofs and book binding.

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Leticia Lampert - (de) construction

(de) construction

The city grows spontaneously. Disordered. Up and down, wherever there is space. Every style is mixed together. There is no development plan for the cities in Brazil, so they become a huge architectonic collage. It is after this perception of the city that this work was created. As a play, collages are made from disconnected pieces of houses and buildings in order to create other ones. These new buildings are strange but, even though, they seem very familiar, once it is like that our perception works. The series consists of 19 collages

(de)constructions #4, Photography and collage, 82 x 130 cm.

(de)constructions #17, Photography and collage, 67 x 100 cm.

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Anastasia Savinova - Genius Loci

Genius Loci is a journey to a multitude of places, urban and rural, inhabited and peopleless, accessible and secluded. The project explores the character and the spirit of the place. Each work is a visual archive, where one picture concentrates the essence and the feeling of a visited site. Streets and mountain passes, encounters on the road and off-road are a rich source of visual information such as form, color and texture; at the same time, all the encountered environments contain something incorporeal. Ancient Romans believed that every place has a protective spirit - genius loci; in contemporary usage, genius loci refers to location’s specific atmosphere and the way it is experienced. Each work is composed of numerous photographs of buildings and landscape forms that are true and authentic for a studied area. These works balance between documentary and fiction, factual and imaginary spaces, and become keepers of the memory and the spirit of the Place.

Genius loci / RU / The other side of St.Petersburg, Collage, printed on paper, various sizes.

Genius loci / NL / 2009.

Genius loci / IT / 2011

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Marlene MacCallum - Book Works

Recording my visible environment and ordinary occurrences of daily life has been the persistent pursuit of my practice. I am fascinated by our relationship with the spaces that frame and objects that fill most daily lives, and yet, are overlooked as we move through our routines in a state of inattentional blindness.

Do Not Enter, partially expanded view, 18 × 23 × 80 cm (extended), 1998. This is a tunnel book that leads you through contradictory experiences of a text which attempts to deny entrance and images that beckon by offering passageways. It obliquely refers to the absurdity of attempting to define territory.

Obvert, hand bound bookwork with accordion structure, photogravure and letterpress, 28.5 × 21 × 1 cm (closed) and 43 × 140 cm (expanded), 1997.

In this work, I am exploring how the ordinary can so easily become the extraordinary. Initially, the images and text describe a childhood memory of interior space inverting but then as one moves through the book and closer to the spaces, the shift between normal and odd occurs via representations of tactile sensations.

Details of pink story: sinistral, opening the book work and fully opened view, 96 × 122 cm (expanded size), 2004—05.

This two-volume collaborative work with Barb Hunt brings together two seemingly contradictory representations of a woman's life. pink story: dextral is an artificially constructed narrative of a stereotypical woman's life. Paint chips offer the promise of covering flaws, and the paint surface creates a façade. In contrast to this external perspective, pink story: sinistral presents an internalized story; constructed of photographs that represent spaces metaphoric of key stages in a woman's life. The use of the tile format in both volumes links the pieces together formally, and the visual narratives become mosaics. The result is two volumes that are like mirror images, reflecting each other, and offering to the viewer a paradoxical reality.

Townsite House, 25.3 × 25.3 cm (page size), 2006. The Townsite House Project is a two-part body of work consisting of a series of 34 toned, fibre-based silver gelatin prints and a book work. The project was inspired by the experience in living in Corner Brook’s Townsite area. Four models of homes were built in the 1920-30’s by the pulp and paper mill for their management and skilled labour. I photographed in five homes – all the same model as the one I live in. I wanted to provide a reading experience that would give the visual equivalence of the uncanny experience of being in homes that are the same/not the same as mine. The book work makes use of a mediated process of representation. Using photogravure, film transparencies, screenprinting and letterpress, the hand bound book work layers and mirrors images and text to echo the architectural palimpsest. The videos of the maquettes provide information on the evolution of the structure and content of the book work.

Glaze: Reveal:, 21 × 42 cm, 2013.

Glaze: Reveal and Veiled is one of a series of book works inspired by the experience of living in Corner Brook’s Townsite area on the west coast of the island of Newfoundland. Between 1924-34 the pulp mill built 150 homes to house the mill management and skilled labourers. Over a period of 10 years, I have photographed in several homes, all the same model as the one I live in. These homes vary in condition from close to original in design and décor to highly renovated. This project gave me the rare opportunity to record the evolution of interior aspects of these homes. It has been the context to explore the paradoxical phenomena of conformity and individualization that occurs in a company town. Having grown up in a suburban housing development, my earliest memories of home is that of living in a space that is reminiscent of my neighbors’. Each artist’s book explores a distinct facet of image memory, multiplicity, sequence and offers the viewer a visual equivalence of the uncanny. Glaze: Reveal and Veiled presents 24 images of Townsite windows grouped into two distinct sequences. The structure is a dos à dos and each side offers a different visual metaphor for memory. The closed book is contained within a wrapper and the viewer has the option of choosing which side to enter first. Each begins similarly with endpapers made from scans of window curtains followed by line drawings of the window frames as the graphic for the title pages. Moving into Glaze: Reveal, the viewer is presented with a spread consisting of a blank white space on the verso and dense black on the recto. Turning the page, the next spread presents an image of a window on the verso and a dense black field on the recto with a glimmer of light appearing. As the viewer continues to move through the pages, each spread reveals a new window image that has been visually peeled away from the densely layered recto. The layering slowly becomes visible revealing the final presentation of single images. In contrast, moving into Glaze: Veiled the viewer begins with a window image that is layered with the previous title page line drawing. In the next spread, the same window is presented alone on the verso. The recto side layers the previous images as well as introducing the upcoming image. The viewer experiences a visual déjà vu each time the pages turn. The progress through the work results in ever more layered and veiled images.

Glaze: Veiled: , 21 × 42 cm, 2013

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Clarissa Sligh - What's happening with Momma?

Clarissa Sligh, What’s Happening With Momma? (Outside), 1987, Silk-screened with acrylic ink on 100% rag Coventry 320 gram soft white paper and 100% rag Stonehenge 250 gram cream paper.

What’s Happening with Momma? is a dimensional, house-shaped book that unfolds to tell an autobiographical story from the author. The book is shaped like her childhood home, a row house with steps where she sat as a child hearing scary noises coming from within. Sligh engages her viewers to walk through the rooms of this house to learn about her memories of her sister’s birth – her momma’s screams; her brother trembling; her rocking back and forth; the stork bringing her new sister. 

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Marc Yankus - The Space Between

Empty Lot in The West Village, from the series The Space Between, 2014

Three Blue Windows, from the series The Space Between, 2013.

Side of Building, from the series The Space Between, 2013. 

Building Split, from the series The Space Between, 2013.

 In this series, select historical buildings are portrayed in altered cityscapes and invented spaces that evoke the experience of memory, imagination and dream states playing out in a magical place. Strangely familiar, the buildings are elevated in a fictional composition that appears to tell a story or reflect a past history, but their power resides more in the realm of sensation than explicit narrative. The buildings seem to emerge from the landscape, shaped by the space around them or, in some cases, by the space between them. These surrealistic alterations of New York’s architectural skyline are a cross between imagination and documentation. As portraits, they are meant to reconstitute awareness and preserve the buildings through adjustments in reality and perception.

I’ve always been drawn to the majestic details and materials of classical historical buildings, many of which are hidden from view, tucked behind new architecture, or simply overlooked. Often discovered from rooftops or accessible from private views, I feel compelled to capture the slivers of the old, recreate the buildings to make them whole, and restructure them in place and history. 

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Marcus Buck

The series "restarchitektur" is a long time project, I am still working on. The idea is to show architecture without showing architecture. The series is taken on large format. On big prints you can see the slight marks of bygone architecture. Onetime in form of a world map decorated from the inhabitant , another time as marks of stairs from a former staircase.

This reminds of lithography. After grinding down layers of limestone to create a clean surface for printing, a ghost image of a previous print can sometimes spontaneously surface as a reminder of the stone's past experiences.

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Rob Swainston - Printstallations

PLEXUS (2011), woodblock print on paper with mirrors.

In Front of Behind the Wall, (2011), woodblock print on paper.

Zimmer Frei, (2012), woodblock print on fabric with wood and wire.

Rob Swainston reminds us we are not just consumers of icons, but producers and observers of images.  All images are historically negotiated assemblages between humans, machines, materials, and social structures.  In a society where social knowledge and power have become pure image, the print technologies historically central to this transformation can act as double-agent.  Artists working in print media can be chameleons moving between image makers and image reproducers.    Image reproducers are technocrats, proto-machines, and images-smiths in building the spectacle world order.  In their perfection they ask no questions.  Artists are image makers showing an image constructed, built, repeated, overprinted, coded, decoded, and endlessly negotiated.  For the printmaker, the press bed is not a window of illusion, it is the space of social tinkering.  The artist is a hacker. Rob Swainston performs this hack through two interrelated bodies of work—series of unique multiples and printstallations.  Installations such as ‘A New System Every Monday’ and ‘All that is Solid Melts into Air’ mix print media, sculpture, painting, drawing and video to point out architectural, institutional, historical, and social spaces.   Series of standardized works such as ‘Who Owns the Sky?’ and ‘Propositions’ move between representation and abstraction such that neither of these categories are important.  The viewer participates in an “archeology of uncovering”, discerning numerous processes and images containing multiplicities of narratives culminating in an uncovering of the “significant image” and the realization “I see myself seeing myself.”

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St James Wood, Co Waterford

Ireland’s prettiest ghost estate: Quaint 800,000 euro thatched cottages sit empty because no one can afford them

Perhaps the fact that they started at an asking price of 820,000 euros each, when auctioneers say they are now worth just 200,000 euros, is the reason they lie empty.

Though some locals once suggested to a reporter that the unused development should be knocked, it has now been rescued by two Waterford city businessmen, who bought the 14 properties. According to the Property Price Register, numbers 11 to 14 were bought for €85,000 each last December, while the first 10 were purchased for €850,000 in February this year.