God (And Le Corbusier) Promises A Safe Landing (But Not A Calm Voyage)
VOMITING ARCHITECTURE, EATING ART, PROJECTING DREAMS, NARRATING LIFE . MARTIN GROSSMANN
In drawing, at first, we are everything: architects, artists, dreamers, narrators, whatever we wish to be. We can certainly do anything in drawing since a piece of paper is a projectional field of the mind. However, we usually face the sheet of paper already guided by an intention, by a previous preparation, by a specific procedure, contextualized in a practice.
In Pier Stockholm´s graphics, what is most intriguing is a certain facing up which dribbles language’s specific function and its referenced intention. Attracted by the intermixing of images, our gaze wanders through the paper. It gambols. Feels displaced over the liberty of conjunctions/conjectures constructed with a refined technique. It also chokes on the search for the representation’s referentials: we are taken aback, since what is prevalent is doubt, be it by the conducting of a narrative/critique referenced in the utopia of modernist architecture, in religious Christian fervor, or by an iconography regulated by an adolescent imaginary which not only glamorizes beliefs, but also fetishizes the liberty attained, for example, through radical sports. In the latter case the reference certainly comes from comic books, cartoons and the graphics produced for the production of T-shirt prints.
Stockholmian graphic is the result of the layering of imaginaries, set into action not necessarily by the primordial intention of making sense, but most certainly motivated by the desire to cuddle contemporary anxiety by promoting something that is immediately made tangible: an instantaneous graphic action, drawing as Polaroid…, a graphic polaroid that records the surreality of contemporary existence in space-time. Martin Grossmann August 2010