Initial thoughts on the ending of the residency try to sum up and reflect. The aim of the residency was to create a discourse at the intersections of space, function and artist so the artist and process of art making became performative. It was about constant disturbance through the dislocation of site in relation to place and the development of thoughts that occur solely from being in a particular place at a particular time. This is an initial response to see how the residency aims have been fulfilled.
The final work is the result of a spatial and haptic response. The conditions of working are constantly changing and influenced by environmental factors such as sun, wind and temperature; social factors – who else is present and what they are doing which encompasses this space and above, below and outside; personal factors such as emotion and mood that affects reactions and response. The haptic qualities have ranged from warm and velvety, wrapping around like a cape; unease caused by wind rattles; ordinary with no special considerations as well as spaces of tension, anger, irritation, of freedom from everyday cares and, importantly, a creative space. These influences were married to experimental work with materials found or particular spaces that engendered a response such as where the floor meets the wall. This became Painted Wall and was developed further after the collaboration with Rie Suto. The use of the metronome in the final piece was influenced by the work with Peter Barnard. The choice of beat, here the slowest possible, is a response to the installation itself. As opposed to previous work where a rhythm was found to respond to the space at different times of day and night. The nets originated from my collection of found knots that were matched by Louise Garland’s own collection and resulted in the joint construction of the gateway net. Here the diverse use of everyday materials and colours reflects interwoven narratives. The use of the term ‘everyday’ here represents my own personal everyday. The sound pieces are the results of collaborations with Michael Hobson and Peter Barnard. Interim Mix with Michael Hobson is a direct response to the space at night whilst the work with Peter uses different spaces beginning with Harrington Mill.
The gateway opens onto an immersive landscape where videotape columns rise from the debris of the dropped nets. The movement of air highlights the metallic colours of the tape through the use of differently coloured light. The videotapes themselves have narratives, albeit hidden, and weaving them creates new connections in those stories.
