Points of Departure

Points of departure

Points of departure

The installation begins with a reading to the empty space from El Iskandariya — Alexandria, a story about the search for home and the nature of belonging. This is done with the knowledge that those who will hear this reading will be some distance away, in another city, another country (the work was made in the knowledge that a video and other material would be sent to the Documentation Festival in Lodz). It then becomes a kind of displaced reading – so the emptiness of the space isn’t emptiness, it contains a voice that seeks to connect to the space around it and there is a listener, but the listener is distanced just as we are when we leave home or are dispersed, then the voices that we carry within us seem themselves far away. Fragments from the novel are read at particular points in the space. This is the first gesture, a way of breaking the anonymity of the place, which has its own character and feeling. And so a relationship begins.

installing sites

installing sites

Each place where a reading occurs is then marked with a white square, which in turn signals the site for a work to be installed. In this way the act of reading gives the writing physicality as well as providing a structure for installing the works which now have a specific location. This installation seeks to extend the concept of mapping from the two-dimensional wall to three-dimensional space – the space through which we walk and in which we exist

Windows and Seeing

windows 4

windows 4

In this instance the architecture provides a starting point for installing the first work, which is a ‘window’ comprised of a sheet of paper with a rectangle cut out of its centre, and placed in the archway a little beyond the stairs, where there might previously have been a wall. A second paper window is situated some feet away. It renders the space in between tangible and creates a double frame in both directions. During the day the light shifts across the adjacent wall whose emptiness glows white contributing to the feeling of a volume, a cubed space with its own presence rather than a simple passageway.  The window in the archway is made of paper rather than wood or some other construction material. This makes it closer to a kind of thinking process, drawing in space, and drawing for me is very like writing; not only is writing a line that takes up different shapes that become words but drawing is also something which articulates and connects points in space and points on a surface, very much the way ones seeks to move from one place to another or from one thought to another.

 

 

window 5

window 5

The image of a window, internally lit at night, projected onto the wall. A wooden shelf replaces the window’s real ledge and supports a candle. The image only exists while the switch is on and the candle is lit. The work juxtaposes the real and the imagined. It is an oneiric image, Bachelard’s daydream. It is an image which seeks to engender memories of home specific to the viewer. Ephemeral and transitory, composed of light, it is about a moment, about seeing.

Belonging

chair

chair

p326 Chair 2 jpg copy

p331 Chair 4 jpg copy

 

‘a single voice’

A single voice

A single voice

a single voice

a single voice

My interest in language lies in its potential for resonance. Words are not only objects of thought but they also exist in the physical world-they are heard,seen and felt.The way a word looks affects our interpretation similarly when placed within a physical space words lend to their surroundings a particular tone. There is an ambiguity in the nature of language. Between the written and the spoken word lies a space and it is in this space that a specific meaning is created by an individual. But a single voice belongs not only to an individual; a community or a nation may also speak as one. It was with the issues facing us in this moment, socially and globally, that the words were chosen for this work.