The floor of Rome's Pantheon is not flat. It is, in fact, slightly curved.
We map out the form of said curve by creating wooden structures and plaster casts, which represent the measurements of each coordinate. We connect the corners of the wooden frame by a diagonal cross to stabilise it.
Anna H: smell_comforting perfume, touch_cold pencil, taste_warm coffee, sight_blurry lines, sound_scratching graphite
Anna O: smell_graphite, touch _sharp, taste_coffee, sight_élargi, sound_pencil touching paper
Anna H: smell_musky wood, touch_pressing piece to piece, taste_bitter glue, sight_splintered ends, sound_ slight squelching
Anna O: smell_glue, touch_rough, sight_focused, sound_scie
Anna H: smell_strong shellac and alcohol, touch_smooth plaster, taste_pancake batter, sight_little imperfections, sound_ hubbub
Anna O: smell_shellac, touch_smooth/velvety, sight_precision, sound_cutter
Device to stand in, Bruce Nauman, 1966, enamel on steel, 21.91 cm x 68.8 cm x 44.13 cm, SFMOMA, California, USA
Into this object are infused two meanings, which balance in the double meaning of the title: on one hand this is an object which is to be stepped on; on the other hand it is a placeholder - a replacement of something else.
In the first meaning, the viewer is invited to participate in the art, to step into the sloped object. The person’s body is forced to cooperate with the slant, changing the posture to remain balanced. This creates a rapport with the body that was not necessarily present before. Therefore we can ponder how this curve in the ground changes the observer's perspective of the rest of the Pantheon.
The second meaning hints to a more complex reflection, however a simple way is to explore what the device resembles: a small stage or podium. This points to a theatricality in the elevation, the person on the object will become part of the art, performing the role dictated by the artist. This theatricality can be found in most elevated surfaces, and is interesting to keep in mind while working on the podium-like elevation of the models of the Pantheon's floor.
How can we infuse personality into objects and drawings that seem so simple?