Unfixed interactions

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WITH around half of Perth’s population being first- or second-generation migrants, memory and place are important, says Robyn Creagh.

It’s a subject that has long fascinated the Curtin University architecture lecturer, and was the basis of her 2011 PhD.

Her exhibition Unfixed Connections, at the Perth Centre for Photography, translates academic theory into something more easily understood outside the hallowed halls of acadaemia, with a series of works that invite the viewer to become part of the experience.

The massive 2mX3m pieces are composed of “postcard” images of buildings and streets, not all in Perth, that make a whole environment.

Visitors are invited to move them around to create their own sense of place, based on memory and experiences.

“Something you can’t get from an architectural drawing.”

“[Reshaping] the images according to their own interpretation and attachment to the image fragments, allowing them to reflect on issues of urban experience and place,” Creagh says.

“Something you can’t get from an architectural drawing.”

Running alongside is Melbourne-based photographer/artist Rohan Hutchinson’s exhibition Kanazawa Study, exploring Japanese architecture “through time and class systems”.

The exhibition was completed during Hutchinson’s residency at the Centre for Art and Architecture in Kanazawa (295km from Tokyo on Japan’s eastern seaboard) and reflects on the difference in design and materials.

It’s an “overview of 500 years of architectural practice within the region from the Edo period, and the living and working environments of the royalty, geisha, samurai and merchants to today’s contemporary environment,” Hutchinson says.

The artist says he analyses differences in buildings depending on how they interact with their community.

“As varying importance is placed on a new structure by developers, government, and/or community, the design and choice of building materials change.”

Unfixed Connections and Kanazawa Study are on at PCP, Aberdeen Street, Northbridge, until May 5.

Entry is free.

by JENNY D’ANGER

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