The project was first presented at Artspace Sydney, in the exhibition GAPYEAR, 2012. Its Title, ‘The Museum Lifestyle – Ruptures and Other Degrees of Effect’. Its subtext, (The social effect/function and intent of intervention becomes less to secure a transcendental conviction, than to undertake immanent testing of its discursive rules and institutional regulations). Its contents - ‘Intent of Intervention/ Endurance of Structure’, Wood, Perspex, Aluminium, Basalt, Xerox prints, Hammers & Tools, Dimensions Variable, 120cm x 120cm x 60cm x 3. 2012. It is essentially an installation piece based on reconfigurations of an Architectural model titled, T.A.C. Temporary Autonomous Construction, 1,920 pieces, 2011. The large geometric work is at the same time a visually spatial minimalist sculpture and also an micro-architectural representation of possible living space or studio. The black and tinted plexiglass panels recall the reflective geometric sides of Donald Judd's square geometric objects and structures with-in the mathematical frame that reminds us of Sol Lewitts - Lattices and models of multiple cubes and geometric spaces. In fact it was my intention that the black glass panels would bring in the reference of one of the earliest deconstructions of the pictorial dimension of painting, Kazimir Malevich’s, Black Square (1915). 

However in ‘The Museum Lifestyle’, the promise of a Suprematist art of architectural function is not just imagined but actually suggested through the reflections of the museum walls shifting on the structures glass panels as the viewer walks around the piece optically observing the structure before physically engaging its interior. In this piece the architectural dimensions were important to signal the idea of a possible space the artist could use whilst existing on the periphery without a residency at an art space or without being based in a centrally located studio in the city. In fact the unique construction of the piece is designed so it can be easily assembled and then completely flat packed and transported to another location. This aspect of the work was also a reference to the flatpack design economy of design mega companies such as Ikea, which promises their customers an aesthetic and functional living experience through their products. An aesthetic once again based in the theoretical art history references of the Bauhaus, Abstraction and minimalist design. All theories which can be traced back to the origins of the deconstruction of painting in De Stilj, Constructivism and Suprematism.