Flaws and Imperfections - embracing

The materials used in these works include found objects – piano, reed organ and old clock parts, wood, rusted grill, rice paper, oil sticks, cold wax, oil paint, polyfilla, string, canvas, chalk paint and wood stain.

I used a process of deconstruction and reconstruction dismantling an old mantel clock and reassembling parts of this and wooden piano pieces onto a wooden board. This involved staining one side of the board black so it held the wood grain and painting the other side with chalk paint for a matt finish. I cut the board and inserted a wooden frame to create a void and a space for the clock mechanism to hover at eye level. On one side I assembled various wooden parts and an assemblage of clock pieces to create an imagined machine that has a roll of rice paper threaded through it. The other side has the clock chimes mounted on to a found wooden object.

I also did a series of frontages using charcoal over a crack in the concrete. These were then transferred as mono prints to 300 gsm paper and adhered to wooden boards and worked into using oil sticks, in some cases Polyfilla compound and string. Two other works were painted using oil paint to respond to the marks in the frottage. The focus was on the repetition of line and subtle variation in the line. A rusted grill in many ways resembled the frottage lines. This was cut and manipulated to create 3 works involving stitching and bending.

Embracing flaws and imperfections became the theme. I explored the concept of a lived experience through repeated lines, rust and decay, like a heartbeat, history, erosion, remnants and distant memories leading to a series with geological like imagery.

The resulting installation consists of a free-standing assemblage piece that stands with a partially working clock mechanism, wooden pieces from piano and reed organ, found wooden block, rice paper and ink roll and clock chimes – symbolising head, heart and gut, a machine measuring time. This piece is partnered with a wall of paintings exploring the lines from the crack in the concrete and works centred around rust and decay and smaller found object assemblages.

a fragile state of mind

A Fragile State of Mind - site and self – letting go

The materials I used include found objects - wooden deck chair frame, rusted wire fence panel, wooden piano keys, old books, boxes, string along with rice paper, ink, graphite pencil, charcoal powder and wax.

The old books were wrapped in rice paper written on with pencil and stained with ink that was then put through hot wax. The text included flow of conscious and repeated phrases such as ‘a fragile state of mind’. The waxed paper was then placed on the exterior as dust covers and the books bound in string making the contents unattainable. The rusted wire panel was manipulated under pressure to curve to the shape of the deck chair. 15 metres of rice paper was applied with abstract markings in ink and charcoal powder, then stitched so it could be hung. Eggshells were collected and treated with vinegar to lighten them. Ash was collected from the burning of documents.

In this work I am exploring fragility through opposing concepts of human existence - comfortable / uncomfortable, said/ unsaid, repressed thoughts to save others from discomfort commonly referred to as treading on eggshells. This fragility of mind reflects the mental health struggles people face regularly and the navigation of fragility through journaling.

The work consists of an installation of a deck chair precariously placed on journals and finger like piano keys, rusted wire mesh replacing the canvas seat. Piles of books and 2 boxes – one has a photo of myself as a child; the other rusted remnants are assembled so that the rear 2 legs of the deck chair are precariously positioned with the front 2 legs balancing on wooden piano keys. Three panels of 5-metre-long rice paper hang behind and flow under the chair with eggshells trailing on the right-hand side sheet. During the performance aspect I walk on the eggshells towards the chair and paper ash is scattered above the chair in a ritualistic manner from an open journal. The chair is lit to cast a shadow on the paper hanging.