stephanie syjuco


Black Markets

> Unsolicited Fabrications
> Color Theory Communication Transference
> Labor Relations (After Stickley, After Morris)
> Five Days Towards a New Modernism (Beijing)

> La Maison Tunisie
> Everything Must Go (Grey Market)

> Future Shock Nesting Boxes
> Wirtschafts-werte (Economic Values)
> Pacific Super
> Doppelgangers
> Werkstaat and Books & Disks
> Multi-User Interfaces
> Comparative Morphologies
> I Love Technology and Technology Loves Me

Self Constructions 








"By Any Means Available" 2005

"La Maison Tunisie," 2004

"By Any Means Available" 2005, and "La Maision Tunisie" 2004

"Untitled (After Charlotte Perriand)" 2004

detail: "Untitled (After Charlotte Perriand)"

La Maison Tunisie
(After Perriand) and related works

cardboard, paper, tape, foil, mixed media

included in "Practice Make Perfect: Bay Area Conceptual Craft" at Southern Exposure Gallery, San Francisco

As explored in previous work, I have a weakness for modernist design and minimal art. I am seduced by the geometry, the cleanliness, and rigorous aesthetics, but find it hard to ignore the social and cultural history of the period. La Maison Tunisie2004, is a resuscitation of a modernist shelving unit by French designer Charlotte Perriand, a colleague of le Corbusier--but this time executed in cardboard, paper, glue, and tape. As a gorgeously designed work, Perriand's 1950s shelf had the hallmark clean lines and materials of the modernist era. For my own piece, I was more interested in attempting a similar effect, but with more "local" materials--in this case only the materials available at-hand in my studio.

La Maision Tunisie” brings for me a plethora of references beyond simply being an exploration of modernist form. My memories of the Philippines includes cityscapes dotted with architecture in the International Style, of which Perriand was a study of. The irony of seeing these crumbling, decades-old buildings at times shoulder-to-shoulder with slums and shanties built of cardboard and tin brings together not only an interesting clash of architectural building techniques, but of social eras.

The International Style indeed went international--to the Third World--and then, like any other architectural moment, sits as a dated design that eventually starts to acquire the patina of age and disrepair--the physical manifestation of the weight of reality and time (some would say even the humanity) coming to bear on the modernist vision of progress. Like the buildings of Brasilia, the Brazilian capital's experiment in architectural envisioning of the future, they stand as melancholy reminders of a history of social and spatial engineering.

La Maison Tunisie,”or The Tunisian House is a French designer's modernist reinterpretation of Tunisian architecture--perhaps even a colonial fantasy or projection as Tunisia was a French colony until 1956. Built using the same conceptual strategy as one would build a shanty (with whatever's at hand locally), “La Maison Tunisie”2004 tries to pull together the history of style, place, and social space and to implicate the many layers of translations at work on both the “"original"” and the “"cover."

To make the work I was not allowed to buy, purchase, or otherwise acquire any materials outside of the studio, my own little sphere of the world. Partly to break myself out of my over-use of foamboard, I set about scrounging and using only what was at hand--I taped together cardboard and scrap board, used glue and wheat paste to adhere surfaces, and cut colored pieces out of magazines to create fields of color. The resulting collage effect was a direct representation of my “"local"”territory, and became evidence of the stuff that immediately surrounded me.