Displacement Activity/No Control hangs from a steel rig. Twenty-four strands of knotted and looped wire hang in front of six ink line drawings. The sculptures hold my internal data beyond the vocal and written. Through the wire strands of wire the repetitive marks of the ink drawings portray external rhythms captured during the process of making this installation. My aim was to explore and visualise the rhythm of the non-male artist while stepping beyond the representational.
While making this installation, I realised the limitations of the patriarchal language structure. As a non-male artist, I had to find a new language, one that was my own, conveying an internal rhythmic language that ebbs and flows, alongside daily external rhythms. I wanted a language to portray my non-binary being from within me. My language has emerged intuitively through my practice. The line has become my mark embracing my recurring rhythms. The lengths of wire and repetitive marks are seemingly the same, but always different exposing a language, revealing my being.
When capturing rhythm within Displacement Activity/No Control, I used a method where I had little control. I shaped the wire with my hands. Although this was a dexterous task I wanted to detach my mental being from the making process, to let my inner being flow through my hands to form sculptures while embracing the glitch. I wanted to lose control and create structures putting myself in another place/space where I was going to find new rhythms. The loss of control within Displacement Activity/No Control excites me most as a maker/sculptor.
Within the installation the viewer is caught in an in-between space/place, peering through the wire strands to view the drawings. Finding it difficult to focus on both elements of the installation the viewer loses control and embraces the new.
You No Speak
You No Speak was made while struggling to work with language in the written form. I stitched one garment and then made the other. It was important to me that the garments were the same but different. For me a stream of subconscious thoughts flows through the piece. Language flows from one garment to the other. Both garments are captive and lifeless; one caught on a rusted hook, the other lays bound by a cord of string coated in latex. A mirror perhaps of being caught within a suffocating patriarchal structure. Seemingly one has power over the other, or perhaps the piece reflects my feelings as I search for a place/space where there is no masculine or feminine struggle for power over language and I am outside of the binary. There was a release in making You No Speak.
Blue Structures focused on the process of making forms intuitively. I was initially drawn to the tension held within the sculptures when they were pulled taut. These sculptures flow from me. Nets are for catching things and can also be for protection. The cages/traps have develop and now have escape routes. The nets are formed as tunnels. They could be seen as coming from my chora. They are a gateway to freedom.
This sculpture was a piece I needed to make before I made Displacement Activity/No Control. It is over 2.5m long and crocheted from wire. I wanted to understand the limitation of the material I was working with while forming a structure from a repeat pattern.
Formed from bin liners the Black Structure evolved into a hyperbolic structure. It originated from deep within me.
The line has become prominent within my practice and presents itself in various forms.
It was during a concert in November 2017 I heard a contemporary classical piece of music by Laurence Osbourn, played by the Outcry Ensemble. I started to draw the piece of music in my sketchbook. Inspired by the contemporary work I was curious to see how others visualise the piece. In January 2018 I was given an opportunity to install Drawing Music. The Outcry Ensemble performed two short pieces and the audience simultaneously drew a line using an UV pen, expressing their response to what they were hearing. The results were truly amazing.
A Conversation with Sound
This installation took place at Tate Modern in January 2018. I encouraged the audience to have a conversation with sound. I worked with Block4, a wind quartet, we were interested to see how the participants would respond, by mark marking, to a short piece of modern classical music. I wanted this installation to be a conversation with sound. I asked the quartet to respond to the drawings while the participants responded to the quartets response to the first set of drawings.
Multiplication of Rhythm
In June 2017 I was invited to participate in Multiplication of Rhythm. a week long workshop in Peckham, London. As a group of eight artists we collected sounds and made our own as a response to the location. A sound artist within the group compiled half sound track.
On the final evening, as part of the live performance, the visitors were invited to respond to the created soundtrack using UV pens on panels of paper that covered the walls.
The following day the images where used by the artist, Katrin Elmer, to form sculptures. It was exciting to see the concept of my installation pushed in another direction during this residency.
Hyperbolic structures and traditional craft methods form the backbone of this piece. I wanted to work with a mathematical/science based structure and textiles in my practice. Influenced by Louise Bourgeois I created an organic structure that reflected me and my origins. The work of Professor Daina Taimina, a mathematician, who lectures on hyperbolic space and its connections with nature led me to probe deeper into crocheting this structure within this installation.
Editing these films together I became more interested in the colours than the footage of the original videos.
My World started with a single hairball. It holds my DNA, it is part of me. On closer examination I realised the hairball was the key to unlock the door into my world.
This installation evolved from the hairball and a tangled rope I found on a beach in Norfolk. I live by the sea in Norfolk and on the water in London, this is my world. My world is a place/space that is often riven in two. Leading from two hairballs two trails flow. Both are formed from manmade waste and organic materials; however one was formed by the forces of nature and the other by me.
By bringing the strands into a gallery space I wanted the viewer to step into My World and to touch, smell and taste the salt in the air released from the sculptures.
September 2017, a group of us from Central Saint Martins did a return journey to Southend on Sea in a Red Master bus from Kings Cross, London. I wanted to make a piece of work were I wasn’t in control of the outcome; I wanted to let the bus record the journey. I constructed a mechanism using a piece of string, a red pen and a piece of paper. The concept of creating artworks without being in total control intrigues me as I pass the making over to the rhythm and the motion of the bus, I was curious to go with the flow of the loss of control within my practice.