Architecture is concerned with the needs of the static but has delved in concepts of multiplicity since the ornamental grandness in the baroque and rococo styles. This architecture was designed to be dynamic, to invoke movement and flow and harmony. Although the architecture itself did not move the eye would move through its undulating curves, the mind would transcend the body in the translation of form. The gold graphic of the substance in my film reflects and represents this history of ornamental multiplicity.
Morphotic Multiplicity is both propositional and representational, abstract and literal. It is deliberately open ended to give multiple directions of explorations into the uncertain, and proposes that harmony of form is achieved in the infinity of the dynamic form, or form of forms.