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“We see a kind of section from a massive and all but endless row of swaying and wobbling chairs. The reference to the founder of the Chinese Communist Party in the 1920s, Mao Tse-Tung, is evident. Nevertheless such a title also allows thoughts about other large-scale migrations of living creatures. Think of the wildebeest in the African plains, or flows of refugees, escaping from whatever atrocities.” (from Chairs and Titles by Chris Manders in All in the Family, 2016)
Four kitchen chairs are positioned tightly together, leaving a square vacant space in the middle, in such a way that it would be too close for comfort for several persons to seat themselves there. A continuous tubular circle connects the backs of the chairs. Nor will it be easy at all to sit down and relax within this arrangement. Annoyance is just around the corner, whereas the concept of fraternization really has another dimension. (All in the Family, Chris Manders, 2016)
Backlight and perspective are two challenges in this work. Though it offers fairness to say that the former was the largest. The low position makes the construction rise imposingly. By hiding the light sources from direct view, the backlight effect becomes stronger. It also emphasizes the individual ‘modules’ that make up this construction. By choosing this position with three vanishing points, a pyramid is visually created from a rectangular construction.