Roquebrune, France 1952: Le Corbusier's Cabanon was completed, fusing rustic domesticity with high Modernist detailing at the site of his eventual, mysterious death. In New York, the same year, Jackson Pollock executed the last of his monumental action paintings: Blue Poles No.11.
Pittsburgh 1968: George A. Romero finished filming the first of his 'Dead' series. In Paris, Roland Barthes completed his seminal essay 'The Death of The Author'.
These two moments provide a conceptual framework to the collaboration between Newbetter (Joshua Bolchover, Shumon Basar, Parag Sharma) and British artist Neal Rock, for Rock's second exhibition at f a projects. Newbetter's constructed environment houses the filmic contrivances of Rock's silicon painted sculptures in a tableaux that owes as much to Le Corbusier's Cabanon as it does to the later fabrication of Sam Raimi's 'The Evil Dead' gore-effects.
Hydan 06#01 resurrects the building typology common both in the classical myth of architecture's birth and in the history of the horror genre: the hut. Le Corbusier's Cabanon â€“ reminiscent of Abbe Laugier's in 1755, or Heidegger's in 1923 â€“ signaled the persistence of original archetypes in resistance to the onslaught of modern construction materials such as glass, and its concomitant in-situ substance, silicon. Until the recent dominance of computer generated imagery, silicon has also been the material, par excellence, employed by the horror movie industry in manifesting the furthest aesthetic reaches of the monstrous imagination.
In a playful enjoyment with material and action, the once candy-coloured 'process' works of Rock's Polari-Range now align themselves with the trickery and illusion of filmic SFX from the late 1970s & 80s. These moments, like many others in Hydan, play licentiously with the moist ideological playdough of today's visual culture circus.
Hydan is a conflated, pidgin language that encounters both illusion and revelation in the annals of a fading Modernist project.