Spinning Wall

In this study, I have taken a closer look at the wall within Movement #3.  Movement #3 (posted in July) was a space that contained a perforated wall and ramp. By moving up and down the ramp, the rays of light that penetrated the wall created a spinning effect. For the wall,  I selected several ballet poses where feet touched the ground in different manners.  I sketched over several poses trying to understand the foot's relationship to the ground.  As I sketched, I began to understand the forces as geometric patterns, that is - rectangles and squares.  The rectangles sat solid on the ground - very stable.  The squares took on the point of the foot, still stable but in a more direct manner.  For several weeks I left this study not sure where it could lead.  Then, I came across an article in Architect magazine called "Hair, Spikes, Cattail, and Turkeyfoot."  Drawn to the inclusion of grasses into the materials, I quickly made an association back to my earlier study and understood how the forms I had created earlier could become something meaningful and representational.  I sketched out several patterns of how the study of the foot/ground relationship would work.  At the wall's base, the pattern would be wider.  The metal template would be long and capable of housing two large bundles of grasses.  The next tier (corresponding with the dancer rising up off the ground position) would be less wide and long and capable of housing two smaller, higher stacked bundles of grasses.  The upper wall would be a narrow template with a single bundle of grass representational of the dancer rising up "en pointe."  As the designer, Wei-Han Vivian Lee had done, these templates would be keyed together like a puzzle.