Materiality | angellspace

Mirror 2002

Mirror

Mounted on the wall of a staircase, just before rounding a sharp corner, a circular ‘Mirror’ is angled at eye-level, as if to reflect and warn of oncoming traffic coming the other way.
However, this mirror doesn’t reflect it’s own immediate surroundings, or an image of ourselves, instead it reflects back the texture of cobbles from outside in the street - albeit softened and distorted by printing in neon pink. To what extent does the built environment stay with us, define us - give us a sense of ourselves as ‘Being here’?

Mirror 2002

Screen-printed Acrylic Sheet 35cm diameter

Always ‘there’ 2001

Always 'there'

The work is driven by a fascination with the issue of our ‘Being here’; of our awareness of ourselves as existing ‘within’ the world.

always ‘There ’ is a large-scale video projection immersing the spectator in a virtual world of movement through the urban landscape. A superimposed coloured ‘dot’ or map-marker becomes the hypnotic and constant presence or reference point throughout this exploration.

Distorted projection screens form a temporary architecture, installed to disrupt the viewer’s journey, forcing them to negotiate and become acutely aware of their own passage through space and time.

At once both playful and unnerving, the artist’s concern is to evoke an intensified awareness of self and environment using contrasting materials to disrupt/reorganise everyday spatial relationships.

Always ‘There' 2001

2 x 3 x 3m Video Projection

Grass 2002

Grass

The green colour and curved lines of the screen-printed grass panels were chosen to engender a relaxing effect within the technological atmosphere of the computer library in which they are sited. The grass motif also references ideas of making yourself at ‘home’, creating a personal space for yourself to inhabit.

Grass 2002

Screen-printed Acrylic Sheet 6 x 1m

Welcome 2002

Welcome

This work explores the issue of how we experience space, how we relate to our surroundings. In the construction of walls and the laying down of borders a sense of our own ‘Being there’ is also established.

Welcome begins to draw out a personal space for the viewer to inhabit. 3 vertical walls delineate a minimum human space – the dimensions relating to a shower cubicle or phone box.

A circle on the floor marks the spot:
‘You are here’.

However, alike to awareness of one’s own presence, this architecture is only temporary and contingent.

Red pathways signal elsewhere. The transparent walls are distorted by light and the image of cobbles – that material most usually solid and stable beneath our feet.

It is this duality of attraction and apprehension experienced in a new place, intensifying a feeling of self-awareness, that the artist wishes to communicate in the work.

Welcome 2002

Screenprinted Acrylic Sheet 3 x 3 x 2.5m

Red Ring 2002

Red Ring

The warmth of the red and orange coloured acrylic is employed to create an inviting central point to the vast low ceilinged computer library in which it is situated. The ring form and lozenge shape can also be seen to represent the individual mental learning space of the computer user within the room, in the same way as a red dot often marks the spot ‘you are here’ within a map.

Red Ring 2002

Coloured Acrylic Sheet 3 x 2m

Chaos 2002

Chaos

chaos n. non-coherence, decomposition, disunion, discontinuity, random order, amorphism, unstructured, formlessness, scattering

To what extent do our surroundings give us a coherent sense of ourselves?

Do endless cuboids and delineated pathways of streets, corridors and roads construct a feeling of our being here?

In chaos, the artist subverts the image of cobblestones, a material most usually stable and enduring beneath our feet, rendering it sheer and unreal as it is screen-printed onto clear acrylic ‘walls’.

Instead of ‘supporting’, these walls move and sway, casting shadows and creating a disorientating yet alluring space for the viewer to enter; where their reflection distorts and slips reappearing again within the textures of the cobbles.

Shades of sheer cobalt blue and fluorescent orange act to dispel the reading of the image, referring instead to the emotive repel+attraction of a WARNING! sign.

Chaos 2002

Screenprinted acrylic sheet, acrylic paint 7 x 3 x 2.5m

Impression – a small space for you 2007

Impression - a small space for you

Delineated rectangular walls, the warmth of diffused light filtered through fragile, skin-like paper textures create an inviting space for the viewer to enter. Reminiscent of Japanese paper shoji screens, these walls however, are punctured and impressed with anamorphic body shapes.

Printed lines of paper clothing patterns hint at the intended body presence and shape.

In this installation, the artist explores the ways in which we inhabit spaces, making them our own, leaving our ‘impression’ and delineated markings on our surroundings, whether they be real or imagined, in our wake.

‘Impression’ can be said to be a structure of ‘being here’. An articulation perhaps of how it feels to ‘be’ in the world - sometimes a fleeting impression - momentary, fragile, passing and diffused.

The artist’s intention is to imbue the viewer with a sense of body awareness, rhythm, movement, ‘being here’.

Impression - a small space for you

Tracing, pattern & greaseproof papers, bias binding, acrylic paint, steel wire, bulldog clips.

2.5 x 2 x 3m

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