flood / whiteout
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floodThroughout the winter, I have been collecting footage of rivers and water. I am interested in the interface between the surface and body of water underneath and the interplaying perceptions of depth and reflection.
I am currently working on paintings which try to capture the movement of floodwaters and the debris left behind. The collected footage feeds these paintings and I have also experimented with projecting painted images back onto painted surfaces. I am also investigating the theory of an expanded field of drawing and have done exploratory work linking the green rope swing footage with drawing upon the water's surface |
whiteout
The project 'whiteout' combined a light installation with field recordings of sounds from a chairlift ride in the Alps. Below is the original video and audio which was the catalyst for the project.
the installed space
I was lucky enough to make field recordings, whilst in the Alps in February, that were both evocative and the actual sounds of ‘Whiteouts’. Through conceiving, researching and carrying out this project, I have confirmed in myself areas of interest that I will undoubtedly take further in future projects. I like installation spaces that contain an experience, and I’m coming to appreciate that I’m particularly drawn to pieces that provide an approximation of outside. Consequently, the work of Olafur Eliasson, Antony Gormley and Mariele Neudecker is particularly resonant for me, as their work negotiates an experience of the natural world. That can be a natural phenomenon, a type of climate or geographical location. I’m always looking outside, it seems, and I feel comfortable and content outside, in solitude or in adverse conditions. Obviously I don’t mind sharing it with people, and I love introducing my children to mountains, rivers, woods and the sea, but I suppose I’m looking for a moment of reflection, an opportunity to pause and observe, and I like a solo interpretation of that.
For me, the passive experience of my piece is like an internalised experience of an infinite space, and I have been quite pleased when people have commented that it particularly works for them when they close their eyes. They are still experiencing the bright light, and it would suggest to me that they are concentrating on the sounds, and possibly conjuring up their own mental images of mountains.
The sounds are hugely visually evocative for me. The light is obviously crucially important to the success of this project and I was interested to hear James Turrell speak of the “primal relationship to light” in his work and also my emotions on my piece sub-consciously echo his enjoyment of the “solitary experience”.
For me, the passive experience of my piece is like an internalised experience of an infinite space, and I have been quite pleased when people have commented that it particularly works for them when they close their eyes. They are still experiencing the bright light, and it would suggest to me that they are concentrating on the sounds, and possibly conjuring up their own mental images of mountains.
The sounds are hugely visually evocative for me. The light is obviously crucially important to the success of this project and I was interested to hear James Turrell speak of the “primal relationship to light” in his work and also my emotions on my piece sub-consciously echo his enjoyment of the “solitary experience”.
