View to a Lightscape – Hospitalfield

This Hospitalfield micro-residency, organised by the university, gave me the opportunity to experiment with my ‘Linescape’ work and how it conveys, translates and embodies information. My fascination being in the detailed possibilities produced by line. A line can represent many things, sounds, words, music, pulses, waves, tremors, vibrations etc. and in such a simple way. I set out to create an ambiguous line that could be seen as any number of formations. Placed opposite a statue of a sailor holding a telescope signifies  land. The setting of this extravagant Victorian house brings contrasting themes into play; the modern neon red of the light alluding to cheap consumerism of the city and an unsustainable life.

I introduced a second light, which was thin, blue and around the base of the statue, linking the statue to the line opposite. ‘View to a Lightscape’ changed all the way from the strong light of day through to the murky dark of night; different qualities highlighted throughout.

Body in Line

Sometimes its the spontaneous things we do that reignite our fascination and passion for what we do. For so long I have distanced myself from my work. The paper cast series consists of paper crushed by others and rarely by my own hand. One afternoon I found an old broken heavy-duty power cable, which I hung up to experiment with. This exploration of the object took off and I was engulfed by an urge to play, move and become a part of it. These moments of pure innocent play are hard to come by, as I have found myself increasingly restricted by my own organisation and structures.

The Artist. A person of play, a conversationalist. In meeting this object, this other, a connection is made. One body of lines meets another; the artist steps into motion. The tension is high at first, as one battles the other for balance. Cable tight in resistance to motions it was never made to bare. Lines, Lines, Lines.

Now the two are intertwined; one becomes the other in a drawing of forces with gravity as its canvas. The subject becomes lost in the object’s movements. No longer is the Artist the maker of art and no longer is the cable an object to simply use. Lines, Lines, Lines.

This non-object was once devised to carry and connect energy, but now it has become nothing but energy. What is it now? ‘It’ being two that became one. This production staged by Play, undoes them both. They are lost. Lines, Lines, Lines.

Nothing there but lines, motion, ties. Gravity bending them to its will. The Artist drawn in by fascination, loses control in an eagerness to explore the endless limits of a new play mate; neither of them were made for this. Lines, Lines, Lines.

The balance between them swings backwards and forwards in an attempt to coalesce in something actual, something that can be named. But a name to this would be awkward; a third wheel, never quite resonating with its essence. So, it stands unknown. It moves unknown, fluctuates, molds and forms unknown. And yet it knows one other. Lines, lines, lines.

Energy flows equally through it as one, the moment overtaking it. Primal is its urge to be, that drives it into life from the living and the dead; the natural and the not. Again. it paints, draws, sculpts. Yet another line, line, line. Before the chaos of the moment spins, pulls, stretches out the two of them. Their time together drawing to a close. The body and the object. The Lines, Lines, Lines.

 

 

 

LINE.EDGE.TRANSLATION

A new solo exhibition of works concerning line, edge and translation featuring the previous work ‘Set in stone?’. Combining sound works, writing, drawing and both kinetic and still sculpture, ‘LINE.EDGE.TRANSLATION’ aims to fully submerse the audience in an experience of the senses. Lines are everywhere; through words, images, objects, sound waves, thoughts, vibrations etc and this is a celebration of that.

 

Sat in a room full of lines,

Listen to them move, to them grind,

Watch as they form in the space,

Imagine their shape, their pace,

Where one ends                       a break.

 

In the centre of the room sits ‘Material Information’ an interactive work that invites the audience to turn the bent wire forming a live animation in a shadow on the wall behind. To the left hangs two drawings in light and cable translated from original drawings done in a performance lecture. The original drawings where performed by peers who where told to draw a line that took five minutes. Halfway through the performance sound intervened the awkward silence changing the drawing techniques. The sound being from talks and lectures it had a thoughtful tone to it. On the right of the room lies a deconstructed version of ‘Set in stone?’; it lying on the side of its pedestal. Between this and the projected line of ‘Material Information’ hangs some experimental installation work examining the repetitive and everyday action of peeling an orange and the line this creates.

 

Set in Stone?

Continuing with my previous themes and expanding on new methods of casting has led me towards a more defined practice. My current work questions the materiality and relationship between humans and the natural world. Working with themes of environmental change and through the use of man-made materials my sculptures create a false sense of landscape, questioning our impact and relationship with nature in the current climate. The title “Set in stone?” illustrates these themes and questions the viewer’s position.

Paper, as an overused synthetic material, is familiar in all its forms, however, here I am drawing attention to the disused and discarded, the wasted, in a grounding and solid object. As an everyday material it is easy to overlook its abilities to hold and convey the smallest of information, whether through writing on the surface or using its materiality to shape an object, in the case of origami. To crush paper is to fill every inch of it with that moment’s information. This almost natural crush or crinkle is so often seen in a range of materials as a defect labelling it as rubbish to discard. The natural shape unworthy of use.

 

 

The introduction of colour into my work has allowed it to move away from the initial association with the blank sheet of paper that it reflects, and bring a new perspective to the work. It is then that the work will stand alone. Blue lakes and movement of water began this change, but ultimately the idea of the lack of water drove my decision for the colouring of “Set in stone?”. Sandy yellow, a representation of dryness, dunes, dust, and sandstone. It takes on other connotations too, the surface of a foreign moon or planet, otherworldly landscapes formed in the mind.

The edge; something a landscape shouldn’t have. Dropping away harshly into seeming nothingness. This effect deepens the weight and tome-like nature of the piece; like the Rosetta Stone baring coded information it presents a mystery and a challenge. Within this natural code forms come; geometrical shapes, triangles for instance, that appear as they do in crystals from an outside force. Here the force was a peer who I handed the paper to, taking some of the authorship away from me. This, to emphasise chaos and unpredictability in the process.

 

Site or Sight

There is a playful conflict in my work, which has become a more muted examination of nature’s sublime majesty, brought to the foreground by unnatural materials and forms within this latest project.

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Unfocused

 

I find the city at night to have an eerie kind of peacefulness. The lights and colours seem decadent, illuminating deserted shops and buildings. I took these on new years eve and managed to catch a couple of fireworks from the top of the crags in Edinburgh.