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IMPROVISATIONS: blocks and sticks
9 June to 3 July 2010

BACKGROUND RULES for the works:
1) all timber pieces = off-cuts from the one workshop (from teaching programs);
2) all pieces as found, with no further machining;
3) pieces added incrementally;
4) surface to surface with glue: no interlocking;
5) size of finished work from held in one hand to held in two hands;
6) all of the above to be ignored as necessary to achieve (7):
7) pieces added until a balance of movement and stasis is achieved.

excerpts from diary notes by AS:

“Colour of timber is a discussion point during the first few weeks of teaching… During one of the sessions I find a piece of ply with pale yellow-green and pink filler on the faulty back, also some yellow and pink plywood. This sends me off into the woodbin to find other colours. I find a number of similar sized pieces of plywood, more leftovers. The arrangement of the found pieces takes on a left to right zigzag motif. I stop at six compositions: two dark, two mixed, and two light.” (august 2008)

(In the Vectors)“…the first blocks were positioned relative to joins, marks or unusual marks on the wood armature. Subsequent blocks were assembled to give a tension between stasis and a left to right flow…the old wood plane is a tool for making perfect wood planes, using a consistent sweeping motion. My reliefs are similar tools, but in another sense.” (2009)

(colleague) “Greg Missingham points out that some of the blocks and slats in the Vector pieces show a slight rotation against to the armature plane. This prompts me to try ones where the added elements rotate towards the viewer…” (2009)

“One of our students (Ben Bindon) makes a flat box out of his left-overs from his furniture piece of last year. He creates more jarrah strips and little blocks; these catch my eye, also some jarrah end-planks and off-cuts in the big bin (which I had not noticed before, despite scrounging in it for other bits and pieces). Somehow (!) they come together as three little studies – as a warm-up. De Stijl influences my play with some slats and blocks, and through an x and a +, a pair of windmills emerge, making me think of Mondrian’s paintings I saw in the Albertina in 2003. Having made my little windmills, I can see why he painted them: a windmill is a vertical mass with lines carving a plane in front of it. It makes me think of Mondrian himself, a vertical mass standing in front of a canvas plane, carving out lines.” (June 2009)

(Another student) “Lydia Hnatojko hands me nine off-cuts from her mitres. There are chamfers and diamonds, and two painted ends. I find a pseudo-diagonal way of joining two pieces so that a leaning, dancing body is suggested. One leftover from the pairing receives pink cubes and a pink stick: anonymous bits found lying around.” (September 2009).

Alex Selenitsch
June 2010

Alex Selenitsch 2004 Exhibition
Alex Selenitsch 2006 Exhibition
Alex Selenitsch 2008 Exhibition
Alex Selenitsch 2011 Exhibition
Alex Selenitsch 2012 Exhibition
Alex Selenitsch 2013 Exhibition