Neda Kahooker Portfolio

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POSTGRADUATE PROJECTS

Masters of Art -Interior and Spatial Design Chelsea College of Art and Design The University of the Arts London

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CONTENTS

MILK INSTALLATION ……………………………………………………………………. 4

SCREEN OF SOCIETY AND SPACE………………………………………………… .12 FINAL SHOW AT CHELSEA COLLEGE OF ART AND DESIGN ……………………26

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Milk Installation was a team work project aimed to design a protest structure for

Chelsea College of Art parade ground.

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Screens of Society and Space

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As a Middle East artist, I wanted to show my criticism of the issue of gender divisions and limitations in society, and highlight the need for breaking the boundaries within both architectural designs and societies. I looked critically at the issue of screens in architectural and metaphoric realms. Whilst screens can be viewed as positive utilitarian objects in space, for instance as a functional or decorative divider screen within interior space that add privacy to it, from my personal observations they are hugely used as barriers between people, especially between genders and reduce people’s interaction in the space. I explored the utility of screens as tools of segregation on three realms; Individual, domestic and social.

I set out to make screen models using different materials such as metal, wood, and fabric, embedded in wax. The process of melting the wax in all models was aimed to symbolise the possibility of breaking manmade boundaries and divisions. Each model was an evolution of the previous model. In the next stage I experimented with screens in a manner that segregated people in a public place, allowing the participants, the opportunity to experience gender segregation, and raise awareness of this personally important issue. The final outcome was introducing a new material for divider screens and a series of short film demonstrating my critical performance.

SCREEN MODEL 1: OPPRESSION My first screen model, was designed to symbolise freezing of movement (both social and physical) and stagnation created in dictatorships; where people’s intention for social mobility and seeking freedom is blocked due to barriers in societies .Here the subjects , as shown by blocks of wood, are not allowed any flexibility in movement, and do not have the power to overcome the limitations of the defined boundaries imprisoning their aspirations. The solid wax resembles the rigidity of dictatorships and closed societies. By placing the model in the path of light, before and after melting the wax with a gas torch, I wanted to show the gradual penetration of light through the wax, as a mean of creating connections between the worlds either side of the screen after breaking it.

My first screen model, was designed to symbolise freezing of movement (both social and physical) and stagnation created in dictatorships; where people’s intention for social mobility and seeking freedom is blocked due to barriers in societies . Here the subjects , as shown by blocks of wood, are not allowed any flexibility in movement, and do not have the power to overcome the limitations of the defined boundaries imprisoning their aspirations. The solid wax resembles the rigidity of dictatorships and closed societies. By placing the model in the path of light, before and after melting the wax with a gas torch, I wanted to show the gradual penetration of light through the wax, as a mean of creating connections between the worlds either side of the screen after breaking it.

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I used blocks of timber, cut in different sizes and positioned at different angles. A central axes made of metal rods penetrated each block of wood through its centre, allowing rotary movement of the blocks on central axis. These represent individual people within a society. The kinetic movement of wooden blocks show the desire and aspiration of individuals to mobilise towards a better situation.

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SCREEN MODEL 2. REVOLUTION In the second screen model, the physical demonstration of movements in the society was no longer my intention. I wanted to show that once a stubborn regime becomes inflexible and uncompromising towards change, it will in effect go down the inevitable path of self-destruction. I therefore, used fabric instead of wood and the whole screen model material was buried inside the wax. When the wax solidified, there were no signs of movement. The model represented a dead society that through its borders of oppression and division only allows a shadow of an inside material to be revealed. My aim was to free this society by melting the wax, the walls of oppression. The inner materials called Coarse Scrim; however, as well as the wax, were not strong enough to resist the heat. Therefore once the wax started to melt, the screen itself began to burn and was destroyed. This reminded me of revolutions such as that of the 1979 Islamic revolution in Iran, highlighting the preference and priority of reformation through peaceful civil movements, to deformation in violent, and rapid uprisings that result in revolutions.

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SCREEN MODEL 3. Change in the third screen model, I decided to show a more amicable transformation of a closed and oppressive society. Therefore I used both strong (heat proof) and weak (flammable) materials inside the wax, as metal rods and cotton threads consecutively. Shiny metal balls which are the representation of socio-cultural values and intellectual

elites, are buried and restricted within divisions and oppressions of the solid wax, that hide the metal ball’s glossy finish and shine. Material and Method of construction: square section steel, using Metal Inert Gas welding (MIG) in the corner connections , metal mesh made from steel using spot welder, Paraffin

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MAKING PROCESS OF SCREEN MODEL THREE. Change

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I set out to proceed with a performance, during which I actively destroyed the third screen model as a woman, and confirmed my strong objection to the presence of the screen.

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SCREEN MODEL 4. Separation I started looking around London, and imagined potential screens between people. A situation they might have never been in.

I decided to give people a real experience of gender segregation. Therefore, Chelsea canteen was segregated by five simple conventional screens that I made, resembling those screens experienced daily in Iran.

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SEGREGATOR SCREENS IN PUBLIC CIRCUMSTANCES I propose a design for the final screen model to include a combination of components from various models described earlier. A Large scale wax screens would be used as spatial dividers and gender segregators in a public place, namely a number of public benches in London including those in the parade ground of Chelsea college of Art.

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I propose an intrinsic mechanism for the melting of the wax within the screens to take place after one week, giving the passerbys the opportunity to see the disintegration of the dividing screens. This will be achieved by using a parallel electric circuit embedded within the design connected to multiple segments of resistance wires.

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FINAL SHOW AT

CHELSEA COLLEGE OF ART AND DESIGN September 2011

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Still images of the final films presented in the show

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Neda Kahooker

neda.kahooker@gmail.com

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