Casting Stones is a drawing machine precisely constructed out of wood. Images are made by dipping marbles in ink, then allowing them to run down a kind of ‘peg board’ within the machine, ‘bouncing around at random’ over a vellum surface. These drawings are then hung around an exhibition space, with the machine acting as a centerpiece. This work has a strong sense of craftsmanship and a sensitivity of process, embracing randomness and chance through a structured mode of artistic production. The process sometimes acts as a performance; it seems to be very much about making.
Emma has submitted a fragile paper sculpture that has been delicately and repetitively pierced with a very fine needle. The act of puncturing physically alters the paper’s structure, causing it to curl into a tubular form. A dark pigment has then been carefully worked into the surface. ‘The hundreds of minute holes I create are either by choice or through a kind of controlled randomness. The flat circle of paper curls up on itself and changes shape through the process of piercing.’
Emma is based on the Isle of Mull in Scotland, another piece that is making a long journey to Bath!
Ben’s drawings and prints are systematic and precise. Through almost mechanical mark-making processes he aims to minimise any creative freedom: ‘…the work can be seen as a result, bounded by a set of rules as opposed to something derived from an intuitive, responsive operation… I am attempting with each piece to follow a given process as accurately as possible, however, there are invariably “mistakes” present.’
For A Given Structure Ben will be displaying ‘945’, one of his scored copper works.
Marisa has selected six photographic prints from here collection ‘Loss’, which is comprised of a total of 48 delicately constructed ‘photographic hair drawings’.
‘I put in place a methodology: every time I washed my hair I was to collect my hair and I make a work with it in a particular portion of the shower room wall. It turned into a ritual, which helped get over the bereavement of the loss. But the obsessive side of it became so strong that I had to decide when to put a stop to it. I decided to limit myself to 48 works. And then I stopped…’
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