Looking at the relationship between painting and sculpture in my work I put together elements from painting with found objects to create the remnants of a ship baking in the end-of-the-world sun. The individual objects grew from gestures in painting, transformed and given new context.
Throughout various zones in the rural banality of the countryside there are usually dens, sometimes made by inhabitants of that space, or unknown visitors, strange interventions sitting somewhere between the personal and the eerie.
Creating a space that relies on the process of making something in that space, in order to discover why it has been made in the first place, has an inherent paradox. Can the relationship between the process of making and the environment of the maker be explored in terms of the external versus the internal?
Spatial relationships are uncovered between objects, materials, colours and forms, and they are anchored by their own occurrence. Self-fabricating everything is key.
The origins of materials that are over-used is often apparent in what they become, sculpture as captured mutability within a specific environment. But the excessive use of one material taken beyond its original usage can end with the formulation of something unforeseen.
Much like a studio space a den in the woods might function as a hideaway but it could also signify a meeting point between internal space and external space, a shroud over a working space which contains the contradiction of being, but not being seen, a membrane where different spaces collide and through which the liminality of the chosen materials can be explored. Or, it could be the den of a castaway once the ship has sunk; an abandonment, and a passage.
Left – oil painting on gummed tape, right – print of the same painting on transparent acrylic allowing light to pass through.
The simultaneous removal, through obscuring, and addition, through placements of objects, creates a weird effect. The shapes seem like spontaneous manifestations, or could be seen as acts of natural graffiti that also evoke passage through a place as part of a visibly repeated process. The patchwork of hidden properties and dimensions of a space requires an intervention to exist, a hidden cause-effect scenario, like when an animal is seen darting through the undergrowth.