Preternatural

[..#..#...] addresses the architecture of St. Brigids, its history as a church and the surrounding topography.

In this work, the ethereal space between the altar and the church organ of St. Brigid’s is called to attention, through a series of sculptural and acoustical punctuations. From the balcony of the church (by the organ) emanates a sound projection – a looped composition made with variations of the ‘E’ key. (The E key is closest to the color yellow, which is a major part of the installation). By using new technology, it emulates the function of the organ that is currently non functional, thus hinting at the past. At the opposite end, by the altar sits a ramp, constructed specifically in response to, and for the site. In between these opposite ends is an interspersion of trapezoidal shapes that hang from the pews. The trapezoidal shapes and the shape of the platform are a nod to the system of linear perspective, the rules of which were discovered during the Renaissance; a time of reasoning and logic. If made physical, the vanishing point of the shapes orthogonal lines would fall on the altar, an approach common in early Renaissance art.

Yellow, the dominant color in [..#..#...] is psychologically connected to growth and life and is a direct response to St. Brigid, the patron saint for creativity. Further these blasts and pulses of yellow serve to compliment and energize to the surrounding white of Ottawa in December.

Through this work, I hope to add a new energy to the area, create an open space for contemplation, and a finally a dialogue between the architecture of the current with the mysticism of the past.

‘Variations in E’ was composed in collaboration with Aaron Wintersong. Avantika would like to thank Chris St. Amand and Andrew Smith for their assistance with the installation.