companion pieces to “super low frequency attenuation deflector”. these irridescent limited edition works on paper, harness refraction and appear to capture light with shifting ethereal reflections in hues of sun and moon light
The installation plays with the vibration and frequencies of colour and light. Sunlight is exploited in the outdoor setting to produce shifting reflections and projections of colour which change as they meet and cross over at different points in the day. Despite the apparent calm nature of the installation, with its spectrum of pleasing colours, there is chaos at work, as waves and particles of coloured light bounce around the piece. The ongoing battle between calm and chaos consistently attempts to re-establish the equilibria. Visitors walking amongst the elements interact by looking at reflections or playing with colour projected on the ground; their curiosity questions whether they are viewing light or paint. In doing so they connect to the system, by interrupting flow they join in the dispersal and scattering of light.
There is a type of system implied by the discarded ventilation units. It produces and reflects visual noise – vibrations and frequencies produced by colour and light. The “noise” bounces between the glass elements which produce them. The steel elements form a system which includes acoustic attenuation, a type of dampening, but the glass, and the reflective nature of the metal, distorts and deflects, disallowing the absorption of the “sound”. An imagined event plays out in a cycle of production and nullification.
There’s an urban myth which says that a school in the UK was forced to change its motto, “I hear, I see, I learn” because the Latin subjected it to ridicule! This piece plays with that motto “Audio Video Disco” as its title; the idea of gaining knowledge juxtaposed against the inherent humour we interpret through the modern day use of certain words. In this installation, there are sounds and visuals, as well as a motor more readily used to rotate a mirrored disco ball. Light from an old super 8 cine projector and a strobing torch is both reflected from and projected and refracted through spinning Perspex and dangling glass. Shadows dance on the wall and around the gallery, travelling around the room as if you are lying in bed at night and a car drives past. In the background is the rhythmic sound of the projector, industrial and machine like yet domestic in scale. Transparent objects hang on stretchy bungee cords forming rotating pendulums which are kept in motion by a slow turning arm on an adjacent plinth. On the glass and acrylic sheets are small magnets, ball bearings, black spheres and red threads, these cast ethereal ellipses and squiggly lines, reminiscent of a constellation in the night sky or a virus under the microscope.
Lured by romantic notions, I took a roll of paper into the sea and out again onto the shore, reconnecting with nature physically through a performance of sorts which simultaneously produced a work on paper en plein air, thus resulting in an absurdity that is at one and the same time capable of being both beautiful and ridiculous in itself and which in turn is mimicked in the film.
Carefully balanced between the marking of time and the risk of collapse or breakage, a pendulum hovers millimeters from the floor. Reminiscent of a spindle in form, it brings to mind the idiom spinning a yarn, used to express the telling of a long imaginative story – or lie.
Completely lost or deeply confused, out of sight of land; as a nation surrounded by water, we are unironically “at sea”; our country has perhaps lost its anchor. A discombobulated nation; adrift in a dangerous or uncertain position. And whilst all around are playing, an insignificant boat, all at sea, sinks unnoticed.
The magnet becomes a lens of touch. Attraction, resistance, force and weight; feeling the environment through the pull of a magnet on metal or the weight of an object on a string. One can reflect on the items collected as archaeological finds and muse upon what it says of our culture anthropologically.
I use mirrors as lenses to reflect and distort. It is possible to confuse and disrupt the expected view at the same time as honing in on small sections or colours and representing them to an audience through documentation.
Feeling the resistance of the water. Listening to the water as it moves. There is a reconnection to nature and an embracing of touch. Droplets resonate, a strange order in the chaos. Splashing feels anarchic.