polythene - canvas - driftwood - polystyrene - netting. Northumberland coastline / collected for site-specific interventions, assemblages, projected works.
Place Attachment (emotional bond between person and place).
Topophilia (Greek topos "place" and philia, "love of") strong sense of place, often related to cultural identity, referenced by French philosopher Gaston Bachelard in The Poetics of Space (1958).
Place Memory - According to Pierre Nora, places of memory (lieux de mémoire) refer to those places where “memory crystallizes and secretes itself”; the places where the exhausted capital of collective memory condenses and is expressed.
slow-motion / / / wave reclaiming land. This tidal area of North-Northumberland coastline is owned by Greenwich Hospital Estates London. Apparently the land was given to retiring Admirals as a reward for their endeavours... Their ancestors still profit financially from tenant farmers / rental properties close to the coastline. This tidal area between low and high water mark should be constituted as 'No mans Land'... A democratic space owned by everyone and no one; re-claimed by the sea with each high tide tide...
Studio experiments with portable cordless analogue projectors - projecting shoreline materials - negative & positive film.
Works that utilise existing shoreline and materials brought to the space tethered to driftwood with monofilament fishing line.
The Japanese concept of 'Ma’ can be perceived as a ‘gap’, ‘pause’ or ’space’ between two structural parts... Organising the process of movement from one place to another. A signifier of the ephemeral, where all kinds of phenomena appear, pass and disappear. This ‘positive’ emptiness can be related to the interval that comes when our out breath has finished, but the in breathe has not yet begun… Lately I have aligned this to the experience of watching waves unfolding / reaching the end of their journey before dissipating into the sand…
I'm currently researching 'ma' to inform a dance project encompassing light • dark / sound • silence / movement • stillness
dissapating wave - four continuous exposures on one 35mm film frame
Much of my recent practice has involved making interventions within the coastal landscape. I view this as a collaboration between myself and the elements; the works are activated by the tides, wind, sunlight and darkness accordingly. I'm especially interested in the liminal - zone between high and low tide, this was my playground as a child, it was also place where my fore-bearers would have worked. This area can be perceived as a no man's land reclaimed by the tide twice a day. Endeavour is combined with reverie in the creation of the interventions... I like the idea of blurring together these supposedly polar opposite activities.
Interventions include - Tethering polythene sections to poles - documenting the flow and eventual deterioration of the material. Attaching digital contact film images of photograms made in the darkroom depicting sea-plastic debris and 'ghost gear' fishing equipment. The intention was for the elements to gradually remove the printed image from the plastic material substrate.
G.Patterson / L.Millar - The research week was as much an opportunity for dialogue as it was for a period of reflection and making. Leah and I share an interest in fusing film and photo-mechanical processes with nature. There is a willingness — to extend beyond the perimeters of film and lens based media, by employing a multi - disciplinary approach.
We spoke about ways in which an audience could encounter the works and how transient projected works are documented and presented posthumously. On the last day we worked collaboratively in the barn — uniting individual processes, to form a hypnotic cine-film loop which echoed a conversation we'd had relating to the expansive nature of the Highgreen estate.
testing out the limits of the cordless analogue LED projector (plus fingertips) - projecting onto the cliff face and rock face in the depths of winter... (the first day of 2019). film images; slow exposure sunlight refractions from the summer | sand abrasions on film emulsion | hole punched exposed (black) film | thornbush on cliffs projected onto n.sea
I 'd brought rolls of photographic paper, cut into 2m x 1m sections with the intention of printing works made from a single roll of 35mm film. Contact prints were made onto positive film from the negatives, so they could be projected together with the two portable analogue LED projectors I had brought. Materials found within the farm buildings, and the surrounding moorland where also placed directly inside the perimeters of the slide frame and projected in the barn, Items included; delicate leaf structures, plant material, dust and a pair of hornets wings. It rained everyday, so the barn was a welcome shelter / sanctuary in which to stay dry and use electrical equipment. Two of the resulting prints were placed in the nearby derelict shooting hut and within the barn where the object that had been photographed was found...