Projection by David McDiarmid

frustrating that you might intend to
make a building or sculpture or painting
in a certain way, and have plans and
strategies but they will literally in the
case of the architect, certainly fall or
be torn down. And it brings that whole
timeline of intent and frustration
directly into your process just by
using those (in conventional terms)
unsuitable materials. That’s one of the
most successful critical parts to what
your doing.
It’s interesting because
DMc: what you’re saying ties
in with what I’m reading in Architecture
Depends just now. That architecture
depends on way more things than it
accounts for. There’s a nice section I really
like: “The gardener gets rid of weeds as
part of the controlling of nature. As we
shall see with architecture as with any
project of the modern age, the more
one attempts to eliminate the other of
order the more it comes back to haunt
one. Weeds always grow back.” And it’s
basically suggesting that spend ages over
something to make it perfect, but know
it will always ultimately be in vain. The
whiter the wall, the quicker it succumbs
to dirt. I always like my plinths to look
totally pristine. I won’t bother painting
them until the day of the show and I
know they’re in place and I won’t have
to touch them. I’ll have moved them
wearing white gloves and painted
them when in place. But somehow
there is always some imperfection I
notice - the slightest of scuffs, marks or
cracks- and the very fact it’s white, only
serves to contrast and highlight these
imperfections! I think every painter,
artist or architect have these moments.
And I think every one of them knows
where they are in their works and can’t
stop looking at them. It’s just all part of
the game!
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