Stitched Monuments, 2007- ...
©Julie Goergen
Sydney Opera House, Big Ben, Colosseum, Brooklyn Bridge.
Bags for construction waste and tarpaulin variable size


Monuments often function as marker, metonymy or summary of a country or a city, which is the reason why they play an important role in the process of our mental representation of the world. For the Stitched Monuments series, I used monument’s plans that I found on Internet. I am interested in transformating architectural space into sculptural objects. I have therefore enlarged these plans and then I have sewn them together to produce three-dimensional versions of the numerical monuments. I have choosen to use for this collection of monuments, potentially highly kitsch, the minimalistic, cold style of post modern objects. 
The simplified monuments are not always identifiable and have more or less the size of pieces of house furniture. They are sorts of hermetic structures which no openings of any kind (neither doors nor windows). So you could describe them as blind architectures. The viewer ability to recognise these objects is challenged by his recollection of the world’s famous architectural shapes. The nature of the objects is not immediately obvious. The sculptures coexist in an installation. There positioning in space changes depends from the monuments. Some hang in the air (like the reversed models that Gaudi invented to design Sagrada Famillias roof structures), other monuments stay on the ground (more or less collapsing).

«First there is seeing a unique object, such as the Eiffel Tower, the Empire State Building, Buckingham Palace, the Grand Canyon, or even the very spot in Dallas where President Kennedy was shot. These are absolutely distinct objects to be gazed upon which everyone knows about. They are famous for being famous, although such places may have lost the basis of their fame (such as the Empire State Building, which still attracts two million people per year). Most people living in the «west» would hope to see some of these objects during their lifetime. They entail a kind of pilgrimage to a sacred centre, which is often a capital city, a major city or the site of a unique mega-event. (...) This mode of gazing shows how tourists are in a way semioticians, reading the landscape for signifiers of certain pre-established notions or signs derived from various discourses of travel and tourism.»

John Urry, The Tourist Gaze


Installation view
Empire State Building, Big Ben, Brooklyn Bridge, 2007
©Julie Goergen

Colosseum, 2007
©Julie Goergen

Empire State Building, 2007
©Julie Goergen

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