Readymades

MATRJOSKA, 2020

Outdoor art-piece (height : 3m) : parkland folly (lookout or sports changing room) in resinous carbon fibre, conceptual sketch.

Individual client welcome.

CREMAILLERE SANS FIN, 2005

Gift for an academic’s first reception (pendre la crémaillère, in French) to inaugurate her Parisian pied-à-terre.

The shelf rack (crémaillère) resembles a miniature BRANCUSI (whose works, incidentally, DUCHAMP used to tout for cash).

Coll. : Anna DOLFI, Paris.

CHRISTMAS CARD, 1981

The deadline fellow hangs permanently around one’s agenda.

Coll. : CMAS, Paris.

VAN ANGELO, 1981

Spectral companion (a sort of Hundred Headless Woman) of my garret in Milan’s via Meravigli, for which I combined available items (i.e. readymade) for this object of ‘presence’.

Coll : KIM Jung Yeon, Paris.

FOR OTTONELLA, 1981

One does not forget an artist, especially when you have taught them….

VENEZIA ANALOGA, 1981

Recuperation and circumvented use of works of architecture, already known for the most part, through the sole means of graphic representation (of my devising mia, on the CANALETTO model), further recuperated by the boss Aldo ROSSI who exploited and remediated the image in his own manner, for at least 8 years.

Amply published.

Coll. : CMAS, Nice.

ASYLUM PROJECT, 1978

In a 1970’s School of Architecture it seemed natural to integrate readymades to presentations of our projects (Richard HAMILTON & Cedric PRICE, bless your souls !).

This particular 2nd year scheme (a psychiatric day-centre) seemed particularly appropriate for exploring such cognitive stimuli.

The photo back-drop is from southern Chile, 1976.

35, HARTFIELD RD., 1976

Several readymades adorn the wall and corner table. Photos taken in a 1st year of Architecture school survey project, to document and communicate how we live in our own spaces.

There was something exquisite about this particular cobbler’s iron, and the cast iron grate used as fruit dish, both lost in removals.

EXHIBITIONISM, 1975

For my first solo event (at 17) I had to “borrow” a lot.

The photo tripod as plant-stand foreshadowed the kind of deadpan humour I would later discover in Milan’s fashion and furniture industry events.