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In ancient Greek and Roman architectural traditions, orders were assigned by the ornamentation exemplified in the columns of the era. Distinctive capitals and fluting defined the orders, starting with the simple Doric, followed by the increasingly ornate Ionic and Corinthian. In time, these orders began to blur and compound on one another, and the combined motifs of Ionic and Corinthian were later deemed the Composite Order.
The genesis for the show and placing this theme of the Composite Order into context came from a moment when I observed a Romanesque pillar on the side of a shuttered storefront. A vent of unknown function hung defunct on the face of the pillar, and the passage of time was evident through the layers of paint that were piled upon it. I was struck by the colliding systems and doctrines that were evident. I was observing contradicting forces where both schools of thought had come to lay dormant and timeworn, as if I was a witness to a battlefield where both p…
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In ancient Greek and Roman architectural traditions, orders were assigned by the ornamentation exemplified in the columns of the era. Distinctive capitals and fluting defined the orders, starting with the simple Doric, followed by the increasingly ornate Ionic and Corinthian. In time, these orders began to blur and compound on one another, and the combined motifs of Ionic and Corinthian were later deemed the Composite Order.
The genesis for the show and placing this theme of the Composite Order into context came from a moment when I observed a Romanesque pillar on the side of a shuttered storefront. A vent of unknown function hung defunct on the face of the pillar, and the passage of time was evident through the layers of paint that were piled upon it. I was struck by the colliding systems and doctrines that were evident. I was observing contradicting forces where both schools of thought had come to lay dormant and timeworn, as if I was a witness to a battlefield where both p…
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