The chimney was the centre of my grandmother’s house and was the core of her shelter. This is a very direct excavation that LOCUS provides. Through the ‘Pataphysical practice chimney acts as an untethered seed and spatial origin, with architectural conditions converging and forming around its projective presence.

In direct dialogue with the removal of the frame, Chimney does not entirely decouple from the need for a datum or trigger point for the projections to emerge from. This is because the drawing uses the existing architectural element of a terrace house chimney as its starting point. Like many pieces of built architecture, the drawing is an exploration into the chimney as an anchor point for architectural invention and experience. The projections that surround the chimney, embedding it within a framework of geometric entities, sit in a spatial stasis, unsure of where to go. Through this uncertainty, the entities avoid projecting beyond the limits of the paper, creating a condition in which the right-hand side of the drawing manifests an edge condition/frame. The top and bottom of the drawing repeat this limitation of consciousness. Does this originate from an adoration of composition? Or a fear of the papers edge?

In contrast to this, the projections on the left-hand side of the page have space on the paper to stretch outwardly, further away from the chimney. As they move further from the chimney datum point, the intensity and intention of the lines disperse, never reaching an existing edge condition. If the chimney were in the centre, would both sides disperse as they project from the datum point it provides?