For this ‘work in progress’ seminar, I decided to test two installation variations with slightly different wall texts. My intention was to test installation strategies, while at the same time establish opportunities for myself to be playful with the pieces within the exhibition space. This sense of openness, made room for further performative action from the pieces themselves, in response to different hanging and installation choices within the space. Creating two different wall texts allowed me to test out subtleties of language in my text in an attempt to re-situate the experiencer within each installation context. Similarly, I used the tilting of the pieces to offer clues as to how I wanted the works to be read, which proved to be more difficult than I originally anticipated.
As this seminar was unaffected by limitations from COVID-19 restrictions that we experienced during previous ‘work in progress’ seminars, students and faculty were onsite together for the week, with numerous opportunities to “try out” ideas, get feedback and make changes. I even plucked up the courage to enact a spontaneous Martha Rosler inspired (Semiotics of the Kitchen, 1975) performance, utilising two of my pieces as props. But of course my pieces weren’t props and my attempt at performing the pieces in this way was unsuccessful. But the action, I think, was successful, in that it encouraged me to continue to be open to the potential performative power of the art pieces in their own right, beyond the studio and my own hand. Most importantly for me and my practice, I realised that these art pieces, within this gallery space were no longer reliant on me-the maker to be activated or to activate a beholder. They and I were no longer physically attached. There was emotional attachment but the umbilical chord had been cut. This embodied realisation was a very freeing experience, like letting a child go out into the world knowing that they would continue to act and interact in material interplay.
At the end of the April seminar week, before dismantling the pieces from the space, I engaged in further playful interactions, which have contributed to future works in the studio. Images, digital recordings and further discussion relating to these interactions can be found at the end of this page.
April Works In Progress, Installation One:
WALL TEXT: My body moves, collides and co-exists within the perimeter of my family home and surrounding environment. There are objects, obstacles and other bodies, made of all sorts of matter. Grazing edge to edge.
The responsive quality of cotton-towel is co-opted in order to trace human interaction with specific household materials. In making, physical actions of towelling are re-applied such as wrapping, and pressing into interior or exterior edges.
The interior wall of this gallery space, echoes the walls of domesticity. Artefacts lean into, pull or hang from this flat-faced manifestation of edge, presenting in the space as bodily outcomes.
List of Works (from left to right)
- Neck to Thigh, 2021, repurposed towel and glue.
- Any body there?, 2021, repurposed towel, glue, washing machine hose.
- Feed Me, 2021, repurposed towel and glue.
- What cycle am I on?, 2021, repurposed towel and glue.
- Blah Blah Blah, 2021, repurposed towel and glue.
April Works In Progress, Installation Two:
WALL TEXT: My body moves and collides, within the invisible boundaries of the domestic sphere and surrounding environment. There are objects, obstacles and other bodies, made of all sorts of matter. Grazing edge to edge.
The responsive quality of cotton-towel is co-opted in order to trace human interaction with specific household materials. In making, physical actions of towelling are re-applied such as wrapping, and pressing into interior or exterior edges.
These artefacts present as forms of the body in relationship with the original object.
List of Works (from right to left)
- Washing Basket, 2021, repurposed towel and glue.
- Washing Machine Hose, 2021, repurposed towel, glue, hose.
- Elusive Threads, 2021, repurposed towel and glue.
- Doormat, 2021, repurposed towel and glue.
The second installation allowed more room for the pieces to exist as sculptures in the space. Detaching them from the wall invited more curious fulsome examination of the pieces in relation to each other. I enjoyed the multiple levels achieved, and especially responded to the movement of the Washing Machine Hose piece in its hanging position, which became further animated by moments of swirling air.
After this second installation I began to play with the pieces more in the space and they responded with playfulness.
