THIS IS NOT A HOUSE

THIS IS NOT A HOUSE
ANDRES SANTAFE+ADRIANA HERRERA
CASAS PROJECT 2023 ECUADOR
This temporary device or installation to contemplate, shows us the contrast of the materials that coexist together in respect for the other, showing a subtle way of looking at the visible, the invisible and the imaginary.

The referent as an operation.

In his work Decalcomanía (1966), La Bella Sociedad (1966), and Donante Feliz (1966), Magrite uses figurative operations such as the contrast of a silhouette, through abstractions
formal. This artist was qualified with his work within the surrealist movement, however today he is also considered one of the first conceptual artists. For his intense work to make the observer participate through what is observed and what it means
what he observes. In these three works Magritte uses a person from behind and communicative elements such as: the sky, nature, the forest, the sphere, the house, the moon, and the light.
In 1929, the Belgian painter Rene Magritte, presents his work -ceci n´est pas une pipe-, in a contradiction of the title with what is represented, considering this work as the precursors of conceptual art. Magritte comes to tell us that, if not for the inscription, the painting would be a simple pipe, but by denying it with words he makes us question reality, representation and language, he shows us an art to think about and contemplate.

Following this argument of denying with words to question what is observed, we propose a transition space between spaces, between the descriptive and the interpretative, this space opens up to the viewer to be part of it with his curiosity, that is, to meditate in movement.

The form that Magritte finds to represent the dialectic of the contradiction in painting is the subtraction of forms. We propose this formal operation as an operating strategy, on the one hand, we start with a virtual façade that simply contains a door and a window, and On the other hand, there is a facade that has had its window and door removed.

We find in the prototype of this greenhouse, the iconic shape of the house, recognized in a seven-sided polyhedron (gabled house), reaffirming the universal shape of the architecture of a house in the Rossian sense.

The material with his memory (internal composition) to tell a narrative about what a house represents for us, we place ourselves in childhood memories. Those lines of our personal histories, compose us as people in the world that each one has been creating, represented in the glass spheres (marble/-ball) embedded in the grain of the agglomerate.
Just like the human being has a memory for counting, the agglomerate has a composition that is usually – common – hidden!
The house is a cultural, social, emotional and psychological construction of each individual, just remembering an event from our childhood mentally returns us to that place called home.