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The boxes are evocations
of visual and poetic moments that haunt me.
I combine colours and objects to create
interconnecting relationships. The materials
may not be evocative in themselves but by combination
they are
transformed.
The objects are selected for their emotive power
rather than their practicality. A cotton reel
is not a cotton real -
it is a plinth, free standing; the nylon thread
made me think of the moon and light over.
A viewer may intuitively connect to the works
or they may evoke incidents from their own memories.
Emotional - Provocative - Practical
I take and say how can I do this? How can I
make something with something so limited? I
am not strong. I
can use the most incongruous thing and make
something?
The boxes them selves work on several levels.
The idea of being able to shut it away was necessary.
Also
because watercolour, and the effects of light
on watercolour.
I had a strong feeling in 1999 that I wanted
the owner to take a work with them. It was a
box - close the door
and it can travel with you.
The world is getting smaller through multiple
connections. Smaller living spaces less concern
for a large
permanent dwelling space. Artworks therefore
need to be able to travel. The box is small
enough. When you
take the door off it expands. Expanding images
inside - expand the images up to whatever size
you like.
In a story I read one of the characters has
to leave the room but outside there are threatening
things. On the
wall of the room there is a painting of a mountain
scene. The man says to his friend "can
you see a path up the
mountain? Can you see the donkey going up the
path?" The friend says "yes!"
The man says, "then I will go
that way", and so he goes into the painting.
The threatening things come into the room but
the man has gone,
he is on the path in the painting. It has expanded.
In an ever-decreasing world there is the need
to enter another world.
These ideas keep pounding at you from the inside
- How do I translate this? How does it become
a work?
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