Dividing the space into smooth and striated areas, is like allowing oneself
to move inside it by following a set course of traits, and at the same
time, provide room for vagabondage, for wandering and drifting, freely.
The two interact in various ways. To disorient; to create tension and
release. Linear striation provides with precise paths, whereas smooth
forms allow for considerable "irregularity".
In a similar way, we could perceive the division between light and dark
areas. While light space is eliminated by the materiality (of objects),
darkness is "filled", it touches the individual directly, envelops
it, penetrates it. The feeling of mystery that one experiences at night,
could not come from anything else.
I started by investigating a site 's particular character and chose to
paint abandoned spaces with strong "impersonal" status, like
gymnasiums and parkways.
They are "places of memory", a world surrendered to solitary
individuality, to the fleeting, the temporary and the ephemeral. But these
"non-places" are the real measure of our time. Foucault has
prophetically said that the present epoch is perhaps above all the epoch
of space. We are in the epoch of simultaneity and juxtaposition, the epoch
of the near and far, of the side-by-side, of the dispersed. We are at
a moment when our experience of the world is less that of a long life
developing through time, and more that of a network that connects points
and intersections with its own skeim.
I am interested
in the theatricality of a space. Places, traces, emptiness, are standing
for silences, absences, missed opportunities. There is a dimension of
sequence, open seriality, the cinematic, dramaturgy, choreography. A structure
as this is not just a location of events, but a place for these events.
A place-to-happen that constitutes a veritable "scenography of passage",
and passage like event, has "temporal" as well as "spatial"
It is a little bit like turning the city into a memory theatre, where
one is invited to think about the places one has inhabited or experienced.
And since the body is said to be the "vehicle of space", there
is a sense of one's wandering, despite the absence of the actual figure.
Just like in walking we move into a near-sphere of our own choosing, if
not of our own making. In this sphere, we encounter places as much as
we enliven them. The result is a place-world that is the correlate of
the living body.
The here and the there, body and space, realism and the poetic, all meet
finally-or rather, begin - in place.
Camberwell College of Arts: BA Hons. Painting
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