Abraham explores nine architectural conditions: stain, field stone, grate, crosstail, falling & rising stain, night scale, ghost frame, vessel and liquid mass. These conditions are understood as accumulations of varying forces of specific character and are not contingent on scale. Materiality and space are privileged while form is variable.
Abraham’s project maps those things that are at the cusp of intuition: that spatial knowledge which is sometimes felt but rarely recognized. He draws on a tradition whose lineage connects John Hejduk and Peter Eisenman: a kind of analysis of the sensible, a taking apart of space as a felt condition. The work reflects the influence of other sources as well including the material and physical sensibility of Richard Serra’s early work and the narrative de-centering of Alain Robbe-Grillet. Completed as a doctoral dissertation at the School of Architecture of the Royal Danish Academy of Fine Arts, A New Nature draws on Abraham’s time as a Visiting Scholar at Cranbrook, his teaching and research at the Royal Academy and work from his eponymous architectural practice. Together, the assemblage of drawings, sketches, models, photographs and writings positions architecture between memory and materiality, reframing spatial experience as a confluence of conditions that are at once unseen and ever-present.