Installation enables a considered response to a particular space.
Domestic sculpted materials and found objects are inserted in marginal, 'other' spaces; the cracks in floorboards, window ledges, in galleries and also alternative exhibition venues, such as derelict rooms, disused barns; and public sites; shop windows, public walkways, squares and open fields. Satin, wire wool, carpet, feathers, often appear to emerge from the fabric of the building or individual objects; through the 'skin', to enter the space occupied by the viewer.
Reference is made to the body and its boundary, bodily fluids and hair, items that blur that boundary and occupy an intermediate space, and which in Western society often surface as a source of anxiety and taboo. The work operates as trace and witness of interrupted process; of memory and the intangible. To be seen, touched, smelt, seduce/repulse, often ephemeral in their physical state, as if abandoned; devices to reflect the temporary, fleeting moment and the shifting processes of re-collection and loss.
Repetition as a formal device is often used in the work to explore the point around which a seemingly meaningless or chaotic act becomes order in repetition. Yet through repetition of the hand-made, or the second-hand, difference and the human gesture is revealed, and the unexpected, uncanny use of objects and places serves to unnerve the sense of security in the familiar.
Temporary
and ephemeral installation crosses boundaries of traditional viewing; whilst
encouraging audience participation and interaction, at times inadvertent.
A dialogue unfolds, precipitating a move from individual authorship to
collective relationship.