Located in the Thomas I. Storrs Building on the UNC Charlotte campus, the Storrs Gallery showcases professional and student work relating to the curriculum in the School of Architecture and the creative endeavors of the College.
February 18-April 11
Opening Reception: February 18, 5:30-7:00 pm
Paenl Discussion: February 19, 12:30 pm
An alumnus of the UNC Charlotte School of Architecture, Bryan Cantley is the founder of Form:uLA, a practice that explores the boundaries of architecture and representation and the role of drawing within the discourse of visionary space. Drawing from architecture, graphic and industrial design, music theory/notation, and applications of kinesiology, Cantley merges these into a voice of undefined chronologies and place, asking the viewer/occupant to question not only where they are, but when.
Form:uLA’s work is in the permanent collection of the San Francisco Museum of Modern Art and has been exhibited internationally, including a solo exhibition at The Bartlett in 2008. Cantley has lectured internationally and is the recipient of a prestigious Graham Foundation grant.
Dirty Geometries + Mechanical Imperfections houses a series of hand and hybrid drawings and models that attempt to engage the audience as both observer and inhabitant, while simultaneously removing the framework of ‘the recognizable’ as a tool of navigation. Cantley grapples with ideas of control and perfection - concepts that have been heightened in the digital age - and finds beauty in the openness, the possibility, that imperfection offers. As Pritzker Architecture Prize winner and Morphosis founder Thom Mayne writes: "In the deliberately unresolved nature of his drawing experiments and building objects, Cantley uses subverted architectural processes as a way to think towards an alternative aesthetics driven by specificity instead of generality. Plan, section, and diagram– the classical devices of architectural representation – appear together in dialectical tension, generating new coherencies that reject the prescriptive intentionality of those drawing types. Juxtaposing the analog and the digital, manual techniques resurface as the only tool capable of errors that are deft and dirty enough to confound the programmatic rationality of the digital environment."
The exhibition runs through April 11. Read an interview with Bryan Cantley here.