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Chromodomo - Laura White
Exploring the interior of the Wall House, I will be making, implanting and placing stuff/ objects/things within it. From ready-made to crafted/constructed objects. Some objects/items will appear to belong/fit in the space; some authentic others artificial; while others clearly invade/disrupt the space. The boundaries between the existing interior, its objects and furniture will become blurred with assemblages of familiar and unfamiliar objects and constructions.
I am interested in questioning the viewer’s relationship to objects and stuff in the world, whether that is a designer chair or a cheap disposable cleaning product. What gives an object meaning, importance and value, and how does that change with fashion and through simple manipulation? For example, an assemblage of cheap everyday objects can take on new meaning when it borrows different visual languages, such as by wrapping an object in fabric can imbue it with an ethnographic spirituality.
Discovering John Hedjuk’s drawings I have been making strong connections between my work and his use of imagery, such as his visceral and strange drawings of angels dancing in the sky wearing straw skits and animals disguised with masks. These drawings although directly relate to the architecture, such as the Wall being symbolic of angel wings working as a physical division between the past and the future, on the other hand seem quite removed from the simplicity and quietness of these contemplative interior spaces. I have became interested in exploring the Wall House with these drawings in mind by introducing visceral and earthly sculptural components to work in contrast to the slick, pristine and designed interior layout of the house. For example, mounds of wet clay embedded with shredded paper will meet elegant ceramic vases, a row of shiny cycling helmets will be pierced with sharp wooden sticks. The visceral will meet the mediated and the meaning of these objects will be questioned.
The visceral and haptic component of this work will also be explored through a series of skirts/barriers which will be hung between each space in the house, such as in all the doorways, and at intervals along the corridor, to accentuate the division between spaces/rooms as well as giving the viewer a direct physical interaction as they part the barriers to walk through. These will be in direct contrast to other object/arrangements in the house that will be only for looking at, and are purely about ‘a look,’ ‘an appearance, ‘such as ornaments used to give character to a room and that have no function.
Colour is a very strong component to this installation, especially the multicoloured, both in terms of using every day items that are often sold in multi-coloured packs, such as clothes pegs or cartons of fruit juice, and with looking at the use of colour to add or deny meaning/importance to objects and constructions.
I am interested in questioning the viewer’s relationship to objects and stuff in the world, whether that is a designer chair or a cheap disposable cleaning product. What gives an object meaning, importance and value, and how does that change with fashion and through simple manipulation? For example, an assemblage of cheap everyday objects can take on new meaning when it borrows different visual languages, such as by wrapping an object in fabric can imbue it with an ethnographic spirituality.
Discovering John Hedjuk’s drawings I have been making strong connections between my work and his use of imagery, such as his visceral and strange drawings of angels dancing in the sky wearing straw skits and animals disguised with masks. These drawings although directly relate to the architecture, such as the Wall being symbolic of angel wings working as a physical division between the past and the future, on the other hand seem quite removed from the simplicity and quietness of these contemplative interior spaces. I have became interested in exploring the Wall House with these drawings in mind by introducing visceral and earthly sculptural components to work in contrast to the slick, pristine and designed interior layout of the house. For example, mounds of wet clay embedded with shredded paper will meet elegant ceramic vases, a row of shiny cycling helmets will be pierced with sharp wooden sticks. The visceral will meet the mediated and the meaning of these objects will be questioned.
The visceral and haptic component of this work will also be explored through a series of skirts/barriers which will be hung between each space in the house, such as in all the doorways, and at intervals along the corridor, to accentuate the division between spaces/rooms as well as giving the viewer a direct physical interaction as they part the barriers to walk through. These will be in direct contrast to other object/arrangements in the house that will be only for looking at, and are purely about ‘a look,’ ‘an appearance, ‘such as ornaments used to give character to a room and that have no function.
Colour is a very strong component to this installation, especially the multicoloured, both in terms of using every day items that are often sold in multi-coloured packs, such as clothes pegs or cartons of fruit juice, and with looking at the use of colour to add or deny meaning/importance to objects and constructions.