This piece develops the idea of simple spatial interventions. I see a visual (not conceptual) link between maquettes I’ve made recently and work by Mondrian and Sean Scully which might offer pointers to develop spatial and surface concerns and exploit the collaging roots of the work further. Perhaps different areas of the picture surface should be handled separately – height changes, blocks of pure colour, black tape dividing lines, areas overloaded with images, geometrically fractured areas, etc.?
For Geoffrey Batchen, the photograph captures transient and ephemeral qualities – it subtly haunts now with the past – and he suggests such characteristics may be transmuted by transforming the photograph into a solid object. (1) I’m interested in exploiting the paradox between insubstantiality and fixity to produce results haunted by both characteristics. I also suspect the drive to move my work from two to three-dimension may be prompted by the desire to re-site the transient moment to something more permanent and enduring.
This period of experimentation seems to have resolved my problem balancing making and research. For me, a certain level of emersion seems essential and switching between one and the other doesn’t work, whereas a week of making followed by a week of research just might.
- Geoffrey Batchen, Burning with desire: the conception of photography (USA: MIT Press, 1999), p.216