Matthew Ritchie: The Last Scattering

08.04. - 26.06.2009, exhibition space Phase 2 - ARUP, 8 Fitzroy Street, London

Publisher
Rasto Udzan
15.06.2009 00:45
The Last Scattering is the name of the exhibition prepared by ARUP, showcasing the works of artist Matthew Ritchie. Phase 2 is the exhibition space spreading across the foyer of the Arup headquarters in London. The new gallery focuses on presenting projects that lie at the intersection of architecture, art, and engineering.

      Matthew Ritchie is a London-born artist settled in New York. In collaboration with Daniel Bosiani from the Arup Advanced Geometry Unit (AGU), the architectural firm Aranda/Lasch, and the Music Research Centre at the University of York, he created a series of works whose resulting form reflects interdisciplinary communication between art, architecture, mathematics, cosmology, and music.
      The exhibited work The Dawn Line is inspired by the astronomical theory of the big bang. It is meant to represent a frozen image of a moment capturing a cluster of particles forming a specific physical object. The work is derived from the multiplication and morphing of a basic compositional unit into a branched chain through parametric recalculation, which takes into account the physical potential and limits of the material used. The seemingly chaotically arranged space consists of fractals that consider the purely logical connectivity of individual elements with a rational aesthetic impact.
      The exhibited work is part of a series of objects The Last Scattering. The series also includes structures exhibited and presented over the last two years - the work The Morning Line supported by Thyssen - Bornemisza Art Contemporary and exhibited as part of the CAAC exhibition in Seville, Spain (2008), The Evening Line presented at the Venice Biennale of Architecture, and the last The Midnight Line exhibited at the Art Museum in Reykjavik, Iceland also in 2008.

> www.matthewritchie.com
The English translation is powered by AI tool. Switch to Czech to view the original text source.
0 comments
add comment