I would like to achieve something that is neither moving nor still, or that possesses a certain contradiction by virtue of the combination of the two within it. Over time my ideas seem to have become more static, though with a view to achieving something akin to a freezeframe of an (often dramatic) action or process, so that the passing of time, or otherwise, becomes acutely apparent. At the very beginning all my ideas involved materials that were changing very fast, ice, fruit, unpreserved animal carcasses and live insects breeding, so the experience of one viewer would differ from that of the next. Could you please comment on the temporal aspect of your artwork and on your own methodical artistic process?ĬM: Temporality has always been an important aspect of the things I make. Not only do you integrate living and inanimate materials (each with their individual velocities of action), but the compositional patterns themselves have a rhythmic musical force. variable (h) x 1.5m (d) x 1.5m (w) Exhibited in Building With Colour at Gallery North, Newcastle, UK, and Consumer at Palais de Tokyo, Paris Photo Credit: Kris HeathĪLJ: The relationship between movement and stillness is so compelling in your installations.
0 Comments
Leave a Reply. |