My research into historical appreciation of landscape, in particular the sublime, has referenced the effect of mist or fog upon landscape, and the way that certain geographical features are enhanced or hidden. I am particularly taken by the idea of fog inversions, whereby a space is filled by mist and suggests a depth or denseness that isn’t actually there.
I have constructed a topographical model of the Bristol area which will be viewed from above, in an aerial fashion, and the geographical landmasses will be represented by a miasma of clouded perspex, inverting the effect of fog over the river.
I have made the sculpture using the course of the River Avon as the space at the centre of the piece. The land on either side of the gorge would be represented by a miasma of perspex, and the river as a space of imagination, history and memory.
Inspired by the way that sometimes an inversion of fog is trapped within the gorge, giving one the impression of a sea lapping at the top of these plummeting cliffs, and the Suspension Bridge’s stomach barely brushing the surface, I want to introduce an idea of towering height and depth, alongside a certain freedom engendered by the indeterminacy of the sculpted form.