I wrote ‘the building without organs’ after first visiting what is my favourite structure – the Nordic pavilion in the biennale gardens of Venice. I’d never visited the building before, only seen it through glimpses, read about it, through photography. I am less interested in writing clear, straight-up things these days. I’m trying to work out a kind of form which gathers itself between, say, the fictional and the real. I want it to disclose itself, to concern itself, with buildings; with architecture. That’s what I study. I am building toward a career as a product copywriter, an architectural copywriter. A journalist. And these different ‘jobs’ require you to write about buildings in different, maybe contradictory, ways. That excites me. So the essay is a stepping stone for me, artistically; a bridge from one format into another during a period of really crucial self-development and encouragement and satisfaction. The good thing about a building without organs is that it is filled not with viscera but with ripe, wild potentiality – things that are always coming into being, pointing forward, fulfilling themselves..


Owen is a writer and visual artist living in London, UK. His book, THE ADRIFT OF SAMUS ARAN, is forthcoming from Fathom Books. He runs PYRAMID Editions art press and tweets @abrightfar.