The Historic English Interior is an example of exceptionally opulent space. English architects and designers collaged historic styles, international design trends and architectural movements into rich designs, each detail borrowing or re-interpreting another space. From 1600-1800, increased international trade and prosperity allowed english architects and designers to view then recreate styles from global interiors. around the world, from its colonies to Italian and Dutch culture.
Each component of a design conveys cultural and social significance. Richness and grander covered each spatial surface with ornately painted and carved ceilings, decorative upholstery on wall and furniture surfaces, to intricately carved wainscoting, balustrades and window embellishments. The borrowing and mixing of styles integrated eclectic experiences from world travel back into the interior architecture of the home. Classical orders and styles are rearranged, traditional color schemes and materials collaged into various textures and surfaces.
The layout of rooms was constructed as a series of controlled viewpoints and colonnades for the elite residents, and guests. Hidden doorways for servants were concealed into decoration. The contemporary photographs I am taking over, also offer a specific and designed viewpoint. In my work I am manipulating that point of view, taking over the space with painted textures, sculptures and ideas as radical installations.
These designs are political statements, questioning the authorship of historic space along with its role in contemporary society and culture. The act of painting is spontaneous and reactionary to the constraints of each room. The physical enclosure, dictates placement of pigment and or object. Materials and ideas are explored playfully or even violently- borrowing from the historic details, but contrasting them with bright, colorful and iconoclastic ideas.
This work theoretically proposes installation ideas which could be implemented. It also represents a paper architecture, designed for the paper, never to be built. The cost and constraints of construction, often leave most ideas unbuilt. Money and power, direct influence as to where people can exhibit.