A biomorphic organic work which introduces whimsy and fantasy to create a “vehicle” for contemplation. Found organic matter is acted upon, bound and protected, made precious, in order to act as a conduit between the pages of a book and the human brain at one end, while at the other end of the machine, quills allow the user to commit their thoughts to paper. Inspired by Eva Hesse and Meret Oppenheim and rhyzomatic theory (Deleuze and Guattari) the work explores the liminal state; the unresolved state. Triggering an unease –a threat of stealthy slender fingers reaching into your mind to find your inner-most secrets.
The piece references my previous work “Pink: Cultures” and “Ganglion” in its forms and “Memory Cones” in its concepts and further explores my interest in identity and memory.
“Pink: Cultures” is a collection of filament forms; bound, wrapped twigs – contained in smooth pigment – organic but factitious hybrids. The artificiality of the artists touch as natural objects are taken possession of devoured by repeated movements which hold them safe and secure and separated. The joints are reinforced and emphasised by different pigment. Together with “Ganglion” the suggestion is of genetically altered organism. Growths: are they benign or malignant? Fragile and delicate, held together and protected from natural decay by the artists actions. Are they a natural growth or something from a Petri dish? Pink organic forms of strongly artificial pigments.
Obsessive activity – tiring but immensely satisfying. Signifying the succulent bodily interior, sticky sweet and unavailable fetish. Connoting painterly marks registered in 3D fabric pigment. Both works relate to medical digital imaging which brings our insides into vivid visualisation as a matter of routine.
Langues of craft and of folk art joined with the OCD of the art of the mentally ill: these are aesthetic objects which do not seek to express more than the artists urge yet create a realm of meanings: poignant and poetic.