My installation at the Bauhaus Atelier following the Design course, combining photography and poetry, was a meditation on the qualities of the line and the dot:
The Bauhaus and its masters of the 1920’s have always fascinated me. As a child, I had a great time playing on a bent metal chair, which I later recognised as a Marcel Breuer design. How could anyone think of a single piece of metal tubing doing the work of four legs and the frame for a seat and a back? I found the answers in reading about the Bauhaus, its attempts to unify beauty and function, art and craft, industry and imagination. The photos of flat, square buildings, of the red, blue and yellow geometric shapes, of the glowing fishes and spindly lines, of the experimental photography, theatre and collages, climbed into my mind like a rush of wild creepers in a cartoon.
Years afterwards, I came across ‘Josef Albers: To Open Eyes,’ a big fat Phaidon edition that covered Albers’s courses with a biography of this great master of art education. I sat down with it, practiced its exercises as I imagined myself a student of Albers at Weimar in the 1920s, at Black mountain in the ’30s, at Yale in the 40’s. I was a vicarious Bauhausler.
Not long after that, in the summer of 2014, I found myself, disbelievingly, in Weimar, in the first Bauhaus school-building, learning design. I am glad I could finish two art and design pieces in the same atelier that masters worked in.