“If one thing matters,
everything matters”
(Tillmans, 2017)

“As a thing, an object, it accedes to its non-logical self. It is something, it is nothing. In its simplistic stand, it achieves its own identity.”
(Lippard, 1976)
 

The statement

The work is concerned with the everyday, considering the materiality of domestic objects mostly used or found. It is an attempt to elevate the discarded and ignored to a place of recognition by employing concepts such as play, not knowing, chance and stillness. In reality, it is often carried out ad hoc and as a response to a certain space or space-related element.

The use of space in relation to the work is always important. Questions such as: where does the floor end, the ceiling start? or: what attributes of this wall can be incorporated in the work? do matter. In fact: everything matters: the wooden grooves which used to hold a wall panel in place, suddenly become an installation, complemented by a wad of found cardboard pieces and bright orange paper strips. A black paint splatter on the floor becomes a neighbor to a white plaster splash, an accidental by-product from workshop activities.

Both positive and negative space is equally important. Some work becomes a space within a space: wornout socks grow into a group of self-supporting containers; an empty crushed plastic bottle is being transformed into a solid white presence, highlighting the vibrancy of its mass-produced yellow top.

The use of plaster and resin allow to show contrasts and textures, and to capture a moment or movement by freezing the soft and pliable into something different, something other.

Workshop time is play time, and the concept of play has grown in significance: it is the topic of my Critical Context piece. It makes sense to understand play on the basis of Gadamer’s hermeneutic philosophy, namely as a repetitive to-and-fro movement, self-contained and full of freedom (Gadamer, 2004).

Artists such as Elodie Seguin, Aleana Egan, Hayley Tompkins, Karla Black, Jodie Carey and Ian Kiaer are ongoing sources of inspiration. Matt Calderwood’s recent exhibition at the Thamesside Studio Gallery affirmed to continue working ad hoc with objects found in situ. Just like Dr. Elly Thomas, I like an unexpected outcome and enjoy the juxtaposition of working with materials that force time (Vidani, 2017).