Renée Lotenero's works occupy an in-between space. They're piles of rubble creating something new as sculpture, while at the same time still remnants of something that used to be. They're photographs of tiles that once lined a floor or wall, digital replicas of these missing pieces that are now there, but still not there. A wall installation can be seen as the epitome of this impermanence -- it's a piece that occupies the space now, only to come down once the exhibition ends.
It's fitting then that the Los Angeles artist's show of new works at Peveto Gallery is titled "Structural Impermanence." The exhibition, the second here for Lotenero after her Houston debut five years ago at McClain Gallery, is chock full of new ideas and directions for the artist. Along with her trademark drawings and sculptures, there are some firsts -- photography, collage and installation -- and they all have another thing in common -- repetition.
In the wall installation The Back of a sculpture, the photograph of, yes, the back of a sculpture, which Lotenero had made four years ago, is used over and over again, printed at various sizes. It stretches out across the wall like the branches of a tree, as if organic. The artist's collages use a similar photographic effect, piling mounds of the same image over and over again into a slope. You'll have to get up close to the images to even realize that they're constructed in this manner, like a mountain of a deck of cards. In four photographs, Lotenero documents site-specific work she's done with tile. Their use isn't really functional; the images of the tile are like viruses, invading kitchens, a family room and a front yard. This artwork is playfully alive.
Among all these new experiments in medium, one element is still crucial to the artist -- scale. This is no clearer than in the sculpture Remnants of a small building with a new fig path installed, a piece of stainless steel surrounded by photographs of a repeated image. The ankle-high sculpture is comically small. It looks like an afterthought, as if it's not even supposed to be there. But there's as much going on here as in her giant wall installation, once you come down to its level.
“Wooden cladding is very trendy these days –– both for interiors and exteriors. For the interior walls, real wood is preferred for cladding. But when it comes to exteriors, the material has to be moisture and heat resistant,” said Ansari.
“For the exteriors, cement boards with a wood-like grainy texture are often used. Shera and Fundermax are some of the commonly used brands for wood-finish boards,” he said.
Among natural stones, gra-nite, marble, slate and sandstone are popular. Granite tiles with ‘flame finish’ give a rough look to the walls and makes them look different from the granite laid on the floor.
Natural stone look-alikes avai-lable in the market are thinner and lighter and are easier to fix and maintain. These tiles are available in several textures and colours.
Metal cladding has become quite common with commercial buildings, especially technology parks, as it lends a “high-tech” appearance to the structure. Metal cladding looks equally good on residential buildings.
Mostly, aluminium composite panels are used for wall cladding, as they are lighter and are easy to be fixed. The panels come in different finish, including wood and marble. Along with metals, glasses too are used for cladding both exterior and interior walls of houses. Glass is one main component in green buildings due to its energy-saving benefits.
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