Looking at three artist’s models of buildings in two exhibitions that I saw this week. From miniature realism to fantastic visions model buildings represent a form of life.
The first two models were in “Uncontrolled Development” a group exhibition at Brunswick Street Gallery. One was by David Hourigan, the other by John Gatip.
Hourigan has received plenty of mainstream media coverage for his models of Melbourne’s disappearing old urban sites, like milk bars and donut stands. They are very detailed, almost photo-realistic, 1:25 scale models of actual buildings. However accurate, Hourigan’s models are just a road to nostalgia, a criticism free version of the past, where there are no regrets or disappointments. (For more on Hourigan’s models see The Age.)
Gatip’s ‘Eureka’ series of golden models are abstractions of Melbourne; particularly the nineteenth century Melbourne constructed from the profits of the gold rush. His models are not an accurate representations but the city is clearly recognisable from the forms. Gatip is an architect but these models are very different from architects models. In an architects model the building is shown in an ideal state, as an example to imitate in the actual construction; in the artist’s model it is a three-dimensional representation.
In “Bruised: Art Action and Ecology in Asia” RMIT Gallery, Alfredo and Isabel Aquilizan models of buildings are clearly made of corrugated cardboard. In their Arrivals and departures multi-storey towers of dense bricolage homes are piled on top of each other in chaotic constructions. Aquilizan’s houses are lively, with overgrown pot plants, bird boxes, antennas and other signs of life. Each building is on a luggage trolleys, ready to move to a new location on the artificial grass.
Bruised is part of ART+CLIMATE=CHANGE 2019 the art festival that is unfortunately so necessary in this climate emergency (see my other posts about visual arts exhibitions the ART+CLIMATE=CHANGE 2019: The plastic jewellers and Art in the face of a climate emergency).