Written on Words by Charnjeev Singh Kang

Artist in Residence at Studio Wayne Mcgregor


Performance

The Empty Chair

Drawing

Architecture
& Systems Thinking

Film

Publication/
Exhibition/
Teaching

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Written on Words weaves together drawing, architecture, film, performance, writing, object design, creative robotics, and collaboration, in order to create work that is grounded in neurology, the nature of memory, literature, empire, love of the human form.  yet leave room for contradiction, uncertainty, and the unresolved . This websites serves as an archive blurring the lines between artistic process and outcome.

Written On Word’s work has been published into book format, awarded residencies both nationally and interntionall as well as featured in national and international festivals/exhibitions.  

Studio based in London and Cheltenham Uk .

Performance :
Transformative/Anastomosing-architecture
















At its core, Anastomosing-architecture searches for stories within object design – as a driving force for disruption, transformation and speculation. 

Through the design of new interfaces, the development of new techniques for interpreting and mapping expressive gesture, and the application of these technologies to innovative compositions and experiences, this work seeks to challenge as a performance art, and to develop its transformative power as counterpoint to our everyday lives. Searching for new ways to live stories

New structures emerge, hold, and fall away in perpetuity. Borders and boundaries slip away, falling into surfaces of material and movement. Something new emerges, always.

Performance :

The Empty Chair (working titled + wip)

I have only given you my body and nature has given me its dream.

An orthogonal chair slowly collapses from rigid lines into oblique planes — one cultural system giving way to the next, one self giving way to another.

During the British Raj, Revolutionaries used cyclostyled sheets and pamphlets for underground communication, folding messages into hidden forms, using handmade papers that could destroy evidence. The collapsing chair mirrors this material rebellion — rigid forms cannot hold, something fluid emerges in their place.

One day an empty chair made itself known. A chair a dear loved one once sat in. Its emptiness created an interface into presence — an invitation into that moment. This collision that takes place within, takes place within all.

How do materials carry revolutionary memory? How does collapse become historical testimony? Can the body — like paper, like a chair, like a cast-iron pipe — become the instrument through which something lost continues to speak?

at once so mysterious and so real, has opened in me large wounds and also large flowing springs

Sculpting and testing the moment of awakening.

Testing mechanisms for the collapse.