Nomad is equally ambiguous in its meaning .  Like its namesake, the sculpture is a travelling piece, an art object without a home, that paradoxically is comfortable in many, different homes.  The name, like Prone, suggests potential movement.  Its portability is evident from the handles protruding from both ends that act as invitations to any passer-by to lift the sculpture up and reposition it.  The handles also vaguely recall the supports for Asian litters.  Like Prone, Nomad is a pregnant form whose bulges gently part to reveal a glimpse of the void within without permitting the view to really penetrate into the inner space.

 

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Each piece is intended as a critique of site, environment, history and the present condition.  In particular, the pieces are meant to help the viewer see a site or public space in new terms.  By placing an art object tin the public realm we engage that realm and test the relationship of artist to viewer.   Nomad, for instance, is a gorilla sculpture that appears in, and occupies, public places usually closed to artistic expression. 

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The focus of the Art and Architectural debate has dramatically changed over the last 25 years, parallel to shifting Cultural attitudes throughout the Western European world.  High Art has been demeaned and replaced by Pop Art, Low Art, Mass Art, and Media Culture.  Image or Surface Representation has triumphed over Form, Structure, Rhetoric, Poetry, and Content.  Art, as such, and Architecture in its classical sense, are experiencing a profound crisis of meaning..

 

Art and art institutions, like their counterparts in the world of Architecture, have been profoundly affected by commercial culture.  Various movements since the 60’s including Pop Art, Op Art, and the Shock of the New exploited media strategies for aesthetic purposes.  Other movements have attempted to differentiate Art from commercial culture by claiming the intellectual or conceptual exclusively for Art. Still other movements have called into question the traditional art market, museums and galleries.  But none has yet to offer a definition which remarries the aesthetic with contemporary culture in a new and satisfying way.

 

The interconnection and cross-fertilization between Art and Architecture is one new strategy for redefining both disciplines.  Architecture can use Art to inspire new freedom in contextual interventions;  to suggest new material possibilities;  to explore other understandings of space.  The Art-space offers new opportunities for conceptual as well as spatial exploration and calls into question the traditional place of the architectural object vis-a-vis the observer.  Furthermore, the replacement of Art with Architecture in the Art-space represents the ever changing functions of urban institutions in contemporary society.