Windrose
2020
Fishing line, candle snuffer, twigs, 9 pieces
Dimensions variable
as installed at Il Giardino, curated by Giulia Cairone, i partnership with Galleri Nos. Lidingö, Sweden.
Cast (in order of appearance)
North: One of the Poles, tall green
South: It’s opposite, long white cloud
East: large blue bowl
West: faded blue (of distance) with a green fringe
North East: feather fine with a crimped bottom
South East: wrinkled lettuce leaf dish
North West: dense white vase, a block of ice
South West: after the bowl on the wicker table at Royal Tce
This compass rose is a gesture of wayfinding. To find North, (one of the poles, tall green) follow the candle snuffer.
Only at night was it I
2016
35 mm slide projection, single channel audio, filmjölk
09:28 min
On the night of June 18 2016, the sun was below the horizon for three hours and thirteen minutes, corresponding exactly to the running time of Jacques Rivette's 1974 film Celine and Julie Go Boating. This film was projected during this darkness, acting as a provisional light source. This performative gesture is the starting point in the installation Only at night was it I and the accompanying text Every movement brings peril, exploring ways unnatural light affects senses as a stranger in a strange land.
Filmjölk shrouded the windows, creating a half-light: the disintegration of the window as a portal and platform for projection and transportation; the reiteration of the construct of the slide frame and the slide projector as a vessel for removal from one's place and one's time; a distruption. The windows of the space are decommissioned as a new window, a new source of light and image, is activated.
Exhibited in the exhibition Parallel Lines, Galleri Verkligheten, Umeå, 2016.
Cabinessence
2016
filmjölk, glass, fishing line
Platform Gallery, Stockholm, Sweden.
Photos by Guilia Cairone.
Two pieces intervene with the existing architecture of the gallery Platform in Stockholm. First, selected window panes are modified by 'installing' filmy venetian blinds made of filmjölk, stuck in between open and closed, filtering sunlight into the space, and subtly shifting the impression of the stairwell as an empty, lost space by including traces of homeliness or previous habitation.
Inside the gallery space a rectangle of knitted fishing line is suspended from the ceiling; the stiff stitches mimicking condensation and textured glass. Positioned like a skylight and reflecting the peeling paint of the ceiling above it.
Invisible Touch
2015
pine, citronella oil, Dove deodorant.
A scent fills a space. Rising up, pressing against the walls, wafting, pungent, expectant. Familiar to some, foreign to others, or else provoking a nagging feeling of, I know this. A window or a door is ajar, an escape route, after an undetermined period of time, the scent slips away. Or perhaps,we are all just so used to it now, that it has become a part of our surroundings.
Sensory gardens, or scented gardens for the blind, are gardens where visual aesthetics are unimportant. Plants present have instead be chosen for their fragrance, texture or taste. Lavender, herbs, aloe vera, succulents, grasses and ferns often feature. These garden are often built at waist height with a handrail for vision impaired people to hold on to, and allow the plants to be a comfortable distance from the nose as the rail guides them around beds.
Invisible Touch applies this methodology as a critique upon the sensory hierarchies within the art world, which is still being described as 'visual', a term perhaps no longer current. Small pine planting sticks skirt the skirting board in the space; they are infused with citronella oil, a common essential oil used in New Zealand as a mosquito repellent, easily recognised, full of past associations and recollections.
Scent is the sense most closely connected to memory.
Waterfront Morals
2009-2010
embroidery thread, jute, lemon juice, newsprint, heat
Window, University of Auckland, Auckland, NZ
Window Online: The Faecesbook Slideshow, facebook graffiti wall works by Florence Wild and Clara Chon, curated by Mythily Meher.
...the Crocker Land mirage could symbolise the loneliness of the sea in another way. It is almost like a delusion instead of an illusion, something Donald Crowhurst may have imagined seeing, to convince himself of his sanity (or lack thereof). The sense of false hope a mirage can cause, just like how a weary traveller in the desert believes the mirage he is seeing is an oasis, it is uncanny how it appears to take the form of the thing one most desires, and the opposite of what is actually there - in the desert one believes he is seeing water, whereas at sea, one thinks he has sighted land.
- notes from my journal on Crocker Land and mirages.
The love I saw in you was just a mirage
2011-2012
200x180cm
embroidery on shower curtain
as seen in Circuits, with Signe Rose, Harriet Stockman and Eleanor Cooper, RM, Auckland, NZ
first image courtesy of artsdiary.co.nz
Elvis Lives! (In a Silent Way)
2009
cassette tape,fishing line, touch lights
as part of Elam Art Upfront
LIMBS
2010
nylon stockings, felt pen, wire coathanger
Physics Room Kiosk, Christchurch, NZ
LIMBS
prosthetics. faux bois. artificial limb. stumpy. peg leg. wooden leg.
pairs of wooden legs like detachable limbs. turning a sea of legs into a wood of limbs.
Chameleon like, camouflage. enabling one to blend in to their surrounds and then peeled off like a discarded skin.
faux bois, tacky and fake, a woody façade. fashionably kitsch, false wood for a false leg.
norwegian wood like the cheap panelling found in cheap british flats. like the beatles song and the murakami book, which always remind me of the way girlsused to hang their stockings up to dry in the bathroom after being washed. and the way one would undo their prosthetic before going to bed.
apparently, when paul mccartney was married to heather mills, the dog would sleep on the floor next to the bed on paul’s side, and heather’s false leg would sleep on hers.
Purple Reign (From Prince to Queen and back again)
2009
digital projection of images from Life Magazines' archives
as part of Magazine (edited by Tahi Moore), Gambia Castle, Auckland, NZ
Modern Love
with Ash Kilmartin
2008
Colin Wilson in conversation with Allan Wild
plywood
Love Letters
2008
single channel video, audio
Harp by Clara Chon
You were at the wrong place at the right time
BFA graduation show, 2008
cotton, jute, chess table made by my father, vinyl adhesive, papier maché, cardboard, paper, ink, cassette tape, nails, acrylic paint, found wooden frames, chalk, found chalkboard.
Dimensions variable