3rd Yr Journal – Week 9, 10, 11, 12

I feel like I’m not moving particularly quickly through my thoughts and ideas. I don’t feel like I’ve come very far from my original idea but maybe that’s just my perspective. Anyhow, I had a tutorial with artist Hew Locke this week and it was really useful because he reminded me to have fun with my work and not worry too much about it. He said I was in danger of it becoming too serious and not enjoyable which is fair to say as joy should be a factor of making as that’s when you get the best results? I don’t know, but it encouraged me to stop thinking and just make and enjoy and stop worrying so much about whether or not EVERYTHING is perfectly politically correct and communicating the right thing before I’ve even made it.

As of this, I have spent the remaining weeks playing and making as well as naturally starting to think about future ideas that will hopefully be implemented in the coming projects in second term. Ideas came naturally through making and play.

The image of the white sheet above is of some fabric that I dyed with rust. I used pieces of metal I found at the ‘corner place’ to dye the fabric using a simple technique involving salt and vinegar. Then I drew around some dough ladders onto the fabric. The photos to the right are of the ceramics and metal I found at the ‘corner place’ laid on top of the fabric. They are laid out neatly and spaced apart a bit like artifacts of the ‘corner place’.

Please click on images for description…

 

I tied all the dough ladders together using strips of canvas from the drawing I did on the floor at the ‘corner place’. It’s like a net of ladders now, giving the ladders a completely different function – they are now in a net that is used to catch things not reach or get over things. It is very delicate and quite heavy due to the ladders getting damp and dense. Now it is like a rhizome of interconnected ladders leading to one and other in every angle with no specific destiny.

 

The pieces of grease proof paper on the image above on the right are some of the ones I used to bake the dough ladders on, I love how the moisture has seeped into the paper and left stains and traces, they are so beautiful. An interesting way of image making and arguable drawing. The moisture traces of the bread…

Above I have draped the now net like ladders over the palimpsestual Jacob’s Ladder step cast as if they are falling down the step freely. A waterfall of dough ladders. The left arrangement of the step and ladders in the corner looks more interesting in a photo however the right arrangement look better in real life. The corner arrangement has more of a link to my work as it encompasses the idea of the ‘corner place’ that is next to Jacob’s Ladder as well.

I have also been taking recording of conversations I’ve been having with people when I directly ask them if they have any stories that involve staircases or ladders. It is interesting because every single story I have received is about people when they were a kid going down the staircase or ladder in some way; no stories have involved people going up and they are always recited with a kind of nostalgia. I heard, “yes but when I was a kid…” many times. An interesting observation about what comes to mind when people think of the ladder or staircase. I did these recordings in social moments when people have just eaten dinner together and are then just relaxing and chatting. Relaxed social moments when people are sitting around in a group sharing stories and ideas.

I have also made a short experimental film called Pigeon Colonization – The Ladder, The Corner. In the film I recite one of my poems over changing footage I took of the ‘corner place’. I make breaks in the video to link to each time I say “next line”. I say ‘next line’ after every line of the poem which was initially said as an accident when I was practising the reading. By saying next line before moving on to the actual next line of the poem I create a kind of repetitive bridge – a bit like a ladder, like a staircase of repeated words that rhythmically leads you through the story. You can find the written version of the poem in my sketchbook. I experimented a lot with the visuals because initially this poem was meant for a different film which I will explain later. I’m not sure if the poem is read in a fitting way for the film, the way I read it is quite matter of fact and I’m not sure If I like this. In the original film, I wanted to add text that would tell the poem and the reader would have to read to follow. I worry that a voice is too specific and holds too many associations to gender, class, country etc and I think it would be best for the reader to read the poem to themselves as if listening to their own words not mine. To change it, I’d keep how an image only appears when ‘next line’ is said but try out how this would work throughout the whole video.

Ideally I’d like to project the video onto the arrangement of the ladders some way. Using photoshop I have tried to imagine what the film if I did this. The video would be much more distorted than this in real life but I think I’d like the way the images would dance over the bodies of the ladders connecting the two together through layering.

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The original video was a 16mm stock motion video shot on Jacob’s Ladder. It was of all the bread ladders slowly making their way down the path way that leads off Jacob’s Ladder; the path that runs across the back of the ‘corner place’. The video took hours of work and saw the ladders dance down the slope and into a pile. Then I shot some footage of people walking down the stairs at Jacob’s Ladder and finally took video of the ladders being thrown over the wall into the ‘corner place’ with the help of a friend. I haven’t got the film because I misplaced it over Christmas while doing some filming in Costa Rica and unfortunately left it there. It was found and is very kindly being posted but hasn’t arrived yet.

 

 

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3rd Yr Journal – Week 8

Taking inspiration from the visual nature of the mono-prints and researching the work of artist Simon Callery, I worked with a piece of large canvas within the corner space. Simon Callery makes work by laying canvas over archaeological dig land, draws and cuts around the shapes of rocks and indents and markings found underneath, repeats this process and hangs the resulting fabric pieces over each other vertically, making a kind of palimpsest where you can see the layers of canvas from viewing the work from the side but also you can see deeper layers from looking face on at the canvas by looking through the holes cut out of it (see work of Callery below).

Related image

I did a very similar process to Callery by working on the land in that way, mapping its texture on the canvas with chalk and cut away at the shapes I wanted to. I also collected some rusty pieces of metal from the site and using commercial descaler I tried to do some rust staining however I am not sure I did the process correctly as the rust from the metal didn’t bleed very well but I think I’ll try it again.

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I also didn’t do multiple layers of the onsite landscape mapping like Callery does but it does resemble the mono-prints quite a lot which wasn’t expected or intended.

Following the making of the sheet map of the corner space, I rediscovered my interest in the dough making I was doing right at the beginning. However I was thinking a lot about the idea of barriers and their presence in order to divide and segrate the landscape and people. Barriers whether physical or metaphoric are like in between spaces in themselves as they are in neither of the two or more places they are dividing. The barrier itself is no-mans-land making it everyone’s? Artist Trinh T. Minh-ha works with the notion of the barrier a lot in her work and I have been doing a lot of research into her thoughts as part of my dissertation. The video below is a very inspirational interview that helped to clarify and inspire more of my thinking about the wall and barrier and spaces between. Watching this video was one of those moments where I felt really good about the work I was making and positive to listen to someone of such intelligence and well respected in the art and literature world, speak about similar subjects and approaches.

Minh-ha see’s Twilight as an in-between space, as well as walls, passages, the act of walking and explains it so beautifully! I love her references to in between places being places of passage from one place to another, and being places of transformation as you go from one state of being to the next. I especially like the relation between Jacob’s Ladder as a place of physical passage and her ideas about walking being a spiritual act of transformation and how the act of walking allows one to perceive the world around you differently, re-evaluate and contemplate. The passageway like Jacob’s Ladder being an interval in the lay out of Falmouth and a place where people walk up steps (steps having their own ancient symbolism), transforming in the void of unimportance that passageways carry. It is a “proximity that keeps the possibilities open, keeps the interval alive” Minh-ha explains. She also talks of border lines and barriers in relation to world politics and their limiting characteristics. The addition of walls and barriers restricting flow and growth also the interesting concept of going over or under a wall or barrier.

I’ve been thinking a lot about this going over or between things so decided to start making ladders from dough. The ladder is an ancient universal tool that comes in many shapes and sizes and from many different materials for functional reasons. All over the world the ladder can’t really be improved and is still used everyday with the fundamental use of getting from one place to another. Ladders are also interesting as they are objects that can be transported and carried and have no fixed location. They have no fixed home and aren’t tied to a specific person or identity. They can be carried long distances but their function is always the same. Ladders are things we take for granted. I like the concept that the ladder as an object can be transported anywhere and will always be recognised as these characteristics are important to my work – the ladder has no home and is always in an in-between and indefinite state plus pretty much all humans will recognise its function. Instinctively knowing to use it to ascend or descend or cross between.

I placed the ladders up against the wall to the Corner Space, I didn’t leave them there but I want to make more and do this. Leaving them leading up the wall may cause people to look over it, think about going over something, over the barrier between the nothing space and their place of passage, defying the division. They might ignore them and not think at all and continue in their passing down the path, they might even steal one. All these potentials and more have their own connotations and could be read in many ways but in a public art piece like this, where art is in the public realm, there is no knowing what will happen to it or who will see it and what they will think. It feels cohesive to put art in public spaces considering my strong links to the overlapping of culture and overall importance of people.

Obviously the ladders are made from dough as well which may intrigue people, remind them of a moment from their childhood or spark an association to something. As I’ve mentioned before, bread is also universal and ancient, so as a sculptural material it automatically brings common understanding and knowledge together creating an overlapping in itself due to the overlapping of people’s recognition within the objects.

I also got my bisque fired step mold ceramics back. The lighter brown shapes are negatives of the indented part of the steps on Jacob’s Ladder and the darker shapes are positives from the lip of steps on Jacob’s Ladder. They fit together nicely.

Above is just one way I could display them using the cast of the Jacob’s Ladder step. I have swapped the placement of the molds. The ones on the top ridge were taken from the indented part of the step but the ones on the floor at the bottom of the step were taken from the step lip. They are interesting little objects as you can tell they have been pressed into a space from one side but the other just has the organic markings and prints from my hand. They are objects that present the connection my hand had with the steps.

 

 

 

3rd Yr Journal – Week 7

In light of the concepts and ideas I talked about in my last entry. This week I did a lot of making. I made casts on Jacob’s Ladder by pushing terracotta clay into the L-shape where one step connects to the next one and others were made by folding clay around the edge of the steps.

I wasn’t sure what to do with these but I ended up taking the more interesting shapes to Brick Works in Penryn to get bisk fired. The more interesting shapes were the ones taken from the inside L-shape over the ones from the edge of the step. Unfortunately I didn’t take any pictures of the shapes themselves because I pretty much took them straight to Brick Works. It will be a couple of weeks before I get them back but it is quite nice to take things somewhere to be processed, it’s an out of sight, out of mind kind of thing, giving you space to move onto other things and have a fresh perspective of them when you get them back. I am really looking forward to seeing them as solid objects that could maybe be fitted back into their places on Jacob’s Ladder; not sure yet.

I also delved into some mono-printing. I thought the mono-print aesthetic looks quite similar to archaeological drawing. Sketchy but inky. The nature of mono-prints always seem to look like they are capturing something fleeting, unrefined and rustic so I thought I’d try to depict some of the shapes from my pub table top rubbings using the process.

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The images above are just a few of the many mono-prints I did. Some of the mono-prints were done directly onto enlarged photocopies of photos I’d taken at the corner spot to try and combine the two narratives in my work. The lack of human presence of the corner spot over layed with the traces of constant presence found in pub table tops. The pub tabletop traces over laying each other, shapes of the corner spot taken from the photos overlaying the traces plus other combinations. The ones above are my favourite ones, some didn’t work so well, too much ink or the layout of the images came out wrong but it was nice to visualise the two parallel ideas in my work together and on one flat piece of paper. I think they did work well, and I really like their rough quality. The shapes almost look paganistic or religious in some instances. Spell like and symbolic but the local people are to blame for these almost mystical symbols taken from the tables – spells people don’t even know they are casting as they absentmindedly scratch away at the paint or calve doodles.

I did mono-prints over a couple of days, in and out of writing dissertation as that is demanding quite a lot of time at the moment, and now the prints like the walls of my studio space. So I am semi surrounded by the traces of pub goers as I attempt to make work inspired by their doings. There is quite a strange and interesting layering to all the elements I am dealing with and I am still trying to work out how they fit together whether or not they fit together at all. Maybe they never will ‘fit together’ and will just co-exist and that’s how they are meant to be in the world just like people are when they live in and around each other – we don’t necessarily interact or have much to do with our neighbours a lot of the time but cover the same ground almost every day – so close to each other in the comfort of our houses but separated by walls – comes down to barriers again.  Barriers and objects or entities that separate and segregate people from being together in the same place at once however leaving traces on the common ground that layer up due to the collaboration of their oblivious creators who come together in acts of doing so.  Neighbours coming together from different backgrounds, opinions and homes to obliviously create traces and things in spaces that they all occupy in fleeting moments.

 

 

3rd Yr Journal – Week 6

I have been thinking a lot about space this week. What a space has to say and what it stands for and communicates in its relation to people and the landscape. In light of this I decided to photograph the space next to Jacob’s Ladder initially from across the valley like last week but this week I shot on a 35mm 1970’s Praktica film camera. I then photographed the space from behind the wall looking into it and the surrounding area, then I jumped the wall so that I actually went into the space and corner itself. Finally from that spot that I have been looking at for a while from the other side of the valley, I photographed in the opposite direction back at the place I’d initially seen it from. It was like a journey of breaking through layers and physical and imaginary barriers to finally reach a destination. Visualising these barriers or layers similarly to how I visualised ripples and layers in the past; layers that circle a specific point. I experienced stages of finally getting to the unnoticed, space in between and once I got there I wasn’t too sure what to do. I’d made the journey and finally made it into the space I’d been seeing for weeks, finally bridged the gap between a distant place or land of wonder to actually standing within it; quite strange. So I just documented it through photography.

 

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All these concepts and thoughts seem to keep leading loosely to elements of migration. This coming to a new place imagined and seen from a distance, breaching barriers as the journey goes on and not quite knowing what to do once you are somewhere you’ve potentially imagined for a while. Another barrier present in my work was the presence of me sitting on the step on Jacob’s Ladder two weeks ago. I obstructed the flow of people on the steps and they unquestionably moved around me on that public place of passing. Like avoiding obstacles on a pathway. The place of passage offering obstacles or barriers that obstruct and change the flow of people passing through. I’m thinking maybe I could work with this concept and implement not me as a person but something else onto the place of passage that causes people to change their passage or root down the steps or on the pathway etc. I could insert my plaster cast copy of one of the steps onto Jacob’s Ladder and somehow document it’s effects of the public as they pass.

The most recent Frieze Magazine published this month (October 2018) is centred around decolonization and the migrant and refugee situation across the world. I have read most of the content and it has birthed more links between my work and the potential of it relating to these issues. Although I initially started off working with ideas on culture and the potential of it being an intangible archaeological palimpsest, my work has continued on these lines but has started touching on ideas on the displacement of  culture and people, movement and overlapping of people over time and space. Which is why the migrant crisis is becoming increasingly relevant but my ideas over all rooted in the idea of the overlapping of people in one place in general.

Last year, I watched ‘Human Flow’ a documentary by Ai Wei Wei which was an epic documentary film observing and exposing the reality of the migrant and refugee crisis aimed at revealing its horrors and truth to the West. It was incredible but unimposing, an observational, calm undramatic exposure to the situation that I believe avoided fetishisation of the crisis and any overly dramatic cinematography and music to enforce ‘wow factors’ so often found in Western cinema and film. It let the content speak for itself.

With the reading, thinking and watching in mind, it made me see the area of Jacob’s Ladder and the empty space next to it as a kind of miniscule narrative discovered in my direct surroundings that embodies similar characteristics as the wider, hyperobject of the migrant crisis or colonialism. I am finding larger important narratives in the smaller local physical and social landscape to understand and communicate the bigger picture is a respectable way to inquire.  

From what I can gather as a white person never having been to a refugee camp, they are portrayed as a kind of place between places. Like a place of passage between A and B just like Jacob’s Ladder is. A place of refuge or temporal settlement between two potentials just like the pub is. However, I am aware of the problematics of associating a refugee camp with a British pub, two extremely high contrasting locations, environments and histories.

It is interesting to consider the similarities with the palimpsest of culture in terms of refugee camps and places of passage. Places where people are brought together and create context, history and impressions on each other, time, space, objects and the landscape. Places of layers and a growing history and past. In a Frieze article called ‘Impermanent Inheritance’ by Suzanne Harris-Brandts, she suggests that “the camp is an artefact of the 20th Century” which does challenge the contemporary notion of the artefact and its parameters however does so under colonial circumstances once again. The West getting to decide the importance and unimportance of things and under it’s righteous identification system despite the impressive challenge of the notion. But it also caught my eye due to its use of its archaeological terminology.  Describing a social and physical landscape as an artefact follows suit with being able to describe culture under the archaeological term of palimpsest; it is just another example of challenging archaeological terminology.

This week I have essentially learnt that my work aims to understand the distant by exploring the direct. Discovering local metaphorical narratives that help to understand the stories and lives of people outside of my own.

In terms of practical ventures I’ve had this week, they are still in development of previous work and ideas.

I have begun moulding the shapes discovered and unearthed from my pub table top rubbings from clay, giving them a physicality and presence within a 3D context to see how they differ and change. So far I have started to view them as creatures and characters birthed from the palimpsest, palimpsest being the mother that bares stories, history and narratives through the marks and traces she allows in her dimensional space brought to life through the fingertips and presence of people. A space between people and the physical world around them, the palimpsestal dimension giving life to history and time through physical traces. The space between the person and their surroundings.

 

For some reason I have the desire to cast the shapes in a metal of some sort for a heavier more tactile, definite presence in reality rather than in the illusive, conceptual world I talked about above.

I also did some collages in attempt to visually combine archaeology with culture and landscape with a slightly scientific overall feel however I found it difficult to visually link archaeological drawings into images of people and landscape to make it aesthetically pleasing.

3rd Yr Journal – Week 1 & 2

After arriving a couple of days late back to uni because I was doing a spiritual residency retreat aimed at female artists, run by amazing artist collective Fourthland (website: http://fourthland.co.uk/). I was a little up in the clouds and it has taken the first couple of weeks of my final year of Fine Art study to get settled back into the mind set and rhythm of university life and tempo as well as working weekends in a kitchen, catching up with friends and keeping up to date with domestic duties of a chaotic busy student house. But this overwhelming business has become an exciting challenge.

The ideas stated in the previous post about my experience and work from the CAST Studio Residency are feeding into the work I’ve made in the past couple of weeks. In Portugal where the Spiritual Artist Residency Retreat was held, I was lucky enough to find a snake skin. The shedded skin of a snake and colonial sail/flag hangings made in the residency are linked for obvious reasons but the nature of the snake skin having once been around the snakes body and now abandoned on the floor, valueless inspired an investigation into other ways ‘the skin of Britain’ could be represented. So, in light of the well known christian ceremony ‘Holy Communion’ where one breaks and eats bread that supposedly represents the flesh of Jesus Christ and drinks red wine that represents his blood, I began baking dough.

 

 

 

The textures, beautiful variety of browns and shapes that were produced is always different and in the process I aimed to stretch the dough to almost ripping point to reveal cracks and bare holes that could lead to further layers beneath to imply a sort of exposure to something beneath. However, purposely giving the dough this nature makes it delicate and fragile. What does this imply about the skin of Britain? That it’s weak and easily broken, that you can see through to the layers beneath through the cracks? It’s brittle and ridged, not flexible, there’s no chance of change now it’s been baked for so long?

What I also need to keep in mind is the colour of the dough. Does the fact that the dough shows many different skin colours change it’s status in terms of what I am exploring, are the bubbles, blotches and tones relevant?

Taking this idea of dough and skin forward, is Britain’s deep rooted christian culture like a thick, bready, rotten, stagnant kind of armour that is tied to each new generation that enters the world in Britain due to the structure and eurocentric approach of it’s Western society? So I have begun making myself a bready body armour that will be tied together using palm tree leaf fibres, referencing the leaves that the Bibles states were laid on the ground when Mary rode into Jerusalem on a Donkey. This is as far as I’ve got with these ideas at the moment but the dough I have been baking for the body armour has leaves mixed into it for experimental disruption of the dough texture and strength.

 

 

 

I’ve also been weaving straw into a flat structure I found at the side of the road and have added layers of clay to some of the straw sculptures I made at the CAST residency.

 

 

It’s still unclear what the reasons are for these pieces but one observation is how all of the objects I am making contain and relate to layers of some sort. Like building up a weave through slowly adding new layers. Straw sculptures coated in clay; a material once soft and paste like, now dry and crumbly. Both pieces have layers made of weak materials. I have not made any thing that is permanent or solid, all the materials are susceptible to damage from fire, water or a powerful blow. They are very organic but ephemeral objects and materials, something temporal or unsecure. All the materials I am using are fairly domestic, like the straw and clay being very similar to Kob for building houses, straw used for roofing or farming and dough for the obvious reasons relating to food. The universal creation of a home? Due to the universal nature of the materials, am I questioning a lack of specific location or grounding in one place. Or is it about the universality of the home being non specific but that home is always found in the earth, anywhere on earth? The universality and similarity of all cultures as all religions, cultures and countries are likely to recognise dough as a food product? Universal language. The singularity and unitedness of all humans regardless of race, ethnicity or religion etc and finding comfort in the same materials.

CAST Residency August 2018

The month long studio residency I did at CAST (http://c-a-s-t.org.uk/) throughout August was an extremely interesting, eye opening and experimental time. The work I produced was some of my favourite work to date and I believe the freedom, lack on subconscious need to fit a mark scheme, the size of the studio space and time alone was essential to these outcomes and very effective.

Having been super interested in colonialism for the past 12 Months since a fantastically moving and inspiring exchange to Vancouver, Canada last August, I felt I began evoking the challenging thoughts and concepts I’ve wanted to communicate.

A short film also accompanied the installation, click link below to watch:

‘Locally Sourced’ video link on Vimeo

It was a very methodic and rhythmic process of plodding through thought without pressure of expectation to an end point that seemed to make sense.

The video piece was presented on a laptop at the side of the installation however, if the opportunity arose where I could put the instillation together again, I would like to run the video through a TV with better headphones. It is an experimental digital film exploring a scaled down scenario relating to the colonialism found in England. A scene on the left showing ‘up country people’ from more privileged, educated backgrounds undertaking an archaeological dig in southern Cornwall. Scene on the right of mainly local Cornish folk enjoying the annual ancient pagan festival held in Helston in early May known as Helston Flora festival. There is a juxtaposition of the two. The story is always the same, the highly educated privileged academics on the left, digging up the ancient local history of those on the right, with those on the right likely to never obtain or gain access to the findings of their history on the left. A scaled down metaphor of the structure of Anthropological and Archaeological scientific findings ingrained into social structure and lack of accessibility given to the less privileged. In parts of the video, I insert my own presence into the scenario through the sound of my voice. I did this to explore this kind of chain of research happening. By not eliminating myself from the storyboard, you are presented with: the artist studying the archaeologists and there being a direct connection between me and the archaeologists due to the communicative exchange, and then the archaeologists arguably studying the histories of the people on the right yet there is a disconnect between the reality of what they are digging for and the current reality of these people generations later. The archaeologists arguably digging in the land of the local’s ancestors yet lacking connected with the the locals of now – I something that is continuously repeated throughout this field. Also, by inserting the presence of the artist into the left scene with the archaeologists, I highlight the reality of the artist sharing the same privilege as the scientists; also disconnected from the reality of the native, local persons.

I was basically experimenting with representing social power and privilege structures found constantly interwoven into society all over the world but here specifically in Britain. And doing so in an experimental documentary kind of way.

No for the physical instillation, I’d like to start by highlighting the the materials I worked with. With a combination of hay and ship sails as the main material used in the work I can begin by mentioning the material implications of the home and away. Home being the hay and away being the ship sails. Already the essence of journey is implied. My intentions of using the hay was to communicate a sort of rural, traditional folk imagery with relevance to the working class and ‘common people’ of Britain which follows suit with the rest of the world; it’s not likely that hay or straw would spark associations with the upper classes of the world. I then explored tying the hay into bundles which naturally bared relevance to imagery within tribalism, paganism, witchcraft and unidentifiable mythical creatures. This helped stitch together loose thoughts on indigenous peoples, cultures and religions of England before it began being colonised by Europe starting with the Romans in 43 AD, and since then these cultures and religions have continued to decrease.

The sails on the other hand were sourced from a local sail maker in Falmouth who gave me a bunch of cut-offs and scraps from his workshop. After being glued together in collage fashion, they became striking, flag like and conveyed an essense of pride and power. My intentions with the sails revolve around an air of Britain’s subconscious Colonial pride; the sails representing that over sea voyage, journey and conquering that took place during colonial conquest. However, I wanted to communicate this in a kind of subtly tribal fashion. I’m not entirely sure of the reasoning and link between presenting the sails in a way that looks like stretched or hung animal skin but it’s along the lines of challenging what England would present in terms of a skin that represents them. The sail/ flag imagery representing Britain as rooted in colonialism, patriarchy and taking what is not theirs to take. Rather than presenting say an indigenous animal skin that is worshipped and honoured for giving every part of itself up for the likes of human consumption and use. Britain as a nation has no care for nature the way other cultures around the world do and these are the cultures that Britain aimed to destroy.

Finally, an element of the installation was a metal dustbin filled with carved apples bobbing in water. This may remind you of that old traditional village feit game, apple bobbing yet these 53 apples have the 53 commonwealth country outlines carved into them. With this I aim to challenge the notion and approach that the predominantly christian community that fueled Britain’s desire to conquer had when they spread their mark around the world… absentmindedly biting into whatever country they picked up next.

It was a passionate and interesting endeavor that flowed through many circles of thought. It was also a massive help and step forward into 3rd year where I will continue to manifest the same themes.

Surrounding Inbetweens

This was my final piece of work from term 1 at Falmouth:

It was a piece aiming to summarise the ideas about repeatedly going within a moment of inbetween and then within it again where the materials I used (wood branch slices) are involved with many circular representations of being surrounded and within a moment of nothing or in between.