Guy, whose practice is interested in the legacy of mid-century modernism, was drawn to this moment of misrecognition as a sign of modernism’s enduring influence within architectural design. The Staircase paraphrases this handrail design again as a sculptural object, a peculiar armature that calls up Scarpa’s spectre to Waiheke, where many examples of faux modernist residencies can be found, perhaps bearing his influence without knowing it.
Using the bronze door handle from Notre-Dame du Haut as its source—La Corbusier’s chapel in Ronchamp, France—The Weight of the Door presents a series of objects that the artist describes as translations. This fragment of the chapel structure, isolated, removed its vitrine surround.The bronze form appears here as a series of distortions. Horizontal and vertical iterations of varying lengths and proportions that differ from the source. A series of bronzes presented not on plinths but directly on the gallery’s concrete floor, dispersed.