Suspended are 3 sheets of transparent Perspex, with multiple images on them. Some are screen printed directly onto the sheets and some screenprints are attached delicately. As the viewer looks through and on the Perspex they are able to match up some of the layered prints together, so that they harmonize into one shape. However sometimes they clash, and do not fit. It is this contrast between the connecting and the not. Also the search for a connection, and an order. The delicate nature of the installation is reminiscent of the delicate nature of the material of paper – and the crushed piece of paper as an object, from where this all began. Through layering the Perspex on top of and next to each other it creates a somewhat 3 dimensional form out of these 2dimensional images – a possible visual abstraction of a landscape or natural form that has a vibrant eerie static.
My work is also about the investigation of the object of a scrunched up, destroyed piece of paper. The essence of this object and the ‘gaseous perception’ of it. A term coined by Deluze, meaning the eye that is inside something, within it. It intrigues me to imagine a viewpoint we can never truly subjectively be in…a viewpoint that exists but is not humanely involving.
Although my work is influenced at times by Russian Constructivism it does not hold their ethos on rejecting the idea of autonomous art. There is an instinctive creating of the composition of the screenprint in my practice. It is led by intuition and a specific disjointed aesthetic that allows for harmony. It is very visually stimulating and it is this that keeps me constantly engaged with it.
Relationship between three pieces
These three separate pieces are interlinked by displaying this work, these fragments of spaces, this exploration of forms in individual ways. The first ‘15jpg’ in a classic tableau form, two dimensional surface pinned to a wall. Large photographic explorations of different layers when singled out by a certain negative shape derived from the object.
The three transparent pictorial surfaces – with screenprints, fragmented from the created linked form into shapes and pages in their own right. Sometimes uniting in composition and sometimes not – depending on the viewer and their level of exploration of the installation and attention to detail of it. The relationship between these shapes has been altered, because they are individually floating in space, suspended in air. The transparent pictorial surfaces prints the shapes onto and into space via the mirror reflection. A new method of printing – these images printing themselves into space via the method of reflection. Using a different way to reproduce they are visible again but cease to exist in reality as physical prints. Like the ‘gaseous perception’ of the inside of forms of which we cant objectively see. The inside of a scrunched up piece of paper in this example. A metaphor for other worldly material objects.
Inevitably it encases reconstruction. Reconstruction of the shapes, of the three dimensional form into a 2 dimensional one. And then back to bringing it into a 3 dimensional space through using suspended pieces of Perspex – and even attempting a new dimension using the reflective surface of the mirror. The method of screen printing also brings an inevitable reconstruction to the work and allows for the freedom of manual repetition and experimentation of relations between shapes.
The last piece ‘Compress’ are sculptures reminiscent of where this all began, where the curiosity grew from – a three dimensional place. The simplistic form of a piece of paper – destroyed and crumpled into a ball, but in a more conscious way, in a way that is more aware of the shape that is being created and the sculptural form it holds. The simple form of which Deluze’s ‘Gaseous Perception’ was investigated. The eye we don’t have – the eye within things. In this case the paper, but in others areas of life that we cant see – or choose not to. It is almost as if these were artifacts or rocks. Small sculptures that would be viewed in a case like artifacts. A lot of this work derives from the idea of archaeology. People studying caves, rocks, the earth and the weather. I’m studying these forms in a similar way – in great detail and with great delicacy. I’m imagining the ‘gaseous perception’ of this created form. What it would be like to go within the actual object of a crumpled piece of paper. Through expanding the space and scale more detail and delicacy can be scrutinized.
Each separate form of presentation enhances and informs the other.