Manifestation of a Line


As trained architects, we at Lovett Keshet understand "real" things to be ones that are well described and able to be clearly and exactly defined. An idea can not become a reality until its form and composition can be communicated to another. An object encountered by one person does not exist unless it can be mapped and described to another.

These tools of description, the apparatus that helps translate between ideas and reality, are at the crux of our explorations.

Within the last few years, the work has been centered around the relationship between points, lines, and surfaces (or pins, frames, and nets respectively). These most basic tenants of geometry are employed to create physical objects and form the basis for perspectival representations. We explore what would happen if the perspective lines were instead construction lines, or if planes of reference were instead physical surfaces. The explorations have resulted in evocative and unexpected forms that arise from geometrical problems we have set into motion. Rather than looking outside of the artistic process for experiences to represent, we look inward to create shapes and patterns unseen.

While most do not realize this, if you draw a 3D line that connects to itself, it is not guaranteed that the line, a conceptual construct, is able to be manifested in corporeal form. When you build that line out of a material with thickness, the final connection probably will not align and connect corner-to-corner. Once angles are no longer orthogonal, all bets are off.

We solve this by designing our intended shape (The Line at Work) and then give each point along it a certain amount of room in each direction to wiggle. The amount or direction of freedom we give each point varies based on our view of what will likely result in the most beautiful form. We then create and enact parameter-based computer scripts to generate all options within these parameters in which all five corner connections miter neatly together. We allow the line to dance around its prescribed space until it resolves itself (The Dance of the Line.) This dance produces a few results. The final one (The Frame to Build) is chosen by evaluating which frame generates the most evocative minimal surface when stretched across. The frame itself is a thing of beauty, with its dark line cutting through 3D space and flattening into a very different object when viewed from alternate angles. In this exploration, the surface contained within the line remains inherent to the process but not manifested in the physical form. In fact, because the line has tricked you, and breaks itself to enable its thickened form, no minimal surface can be hung from its edges.