Δευτέρα, 17 Αυγούστου 2015

Alison Darke η Αγγλίδα καλλιτέχνης συμμετείχε στο εικαστικό πρότζεκτ "ψυχής στο Λαιμό 4" 2015 ‎Directional Forces 5 Greece Residency





ALI DARKE
DIRECTIONAL FORCES PSARADES RESIDENCY 2015


Above the main factory floor I found a room. It was covered in goat shit and the task was to create something out of all this decay. I would transform the goat shit into gold and show the remains of a miniature, abandoned factory within a factory – reflecting both the previous industry and the work of the visiting artists as they responded to the environment. What had been a canning factory became my ’Uncanny Works’.  It felt like child’s play – building sandcastles and dolls houses – I was in my own world.
I left behind mounds of earth where the nuggets had been excavated into rusty tins. These were sent through the window to the factory below where they poured out of a tap,alchemically transformed into gold.

In my imaginarycivilization, the wealth from the factory was displayed in a gold mosaic path that led to three rusty tin towers or temples. Other artists’ work and the environment were referencedthroughout my installations– a camouflaged tiny figure stands overlooking the land (mimicking Susana Sanroman’s photography)A flag is held aloft by an oxidized plastic headless baby doll – (like Harris Kondoosphyris’ work from the previous year’s residency.) and blue water in jars displayed in my next piece –respond to the theme of ‘Purification’ in Veronica Shimanovskaya’s work and the lake Prespes itself.

In another room upstairs, using an upturned cupboard I created the ‘Undirectional Forces Open Museum’ displaying bits and pieces I had collected during my stay in Psarades - a museum within a museum. It became a kind of tower of life seen through things and memories left behind –golden eggshells, local myth and landscape, art, and finally our own bodies, seen in the flattened skin and bone of frogs picked up from the road.In the end scene is an old black shoe that leads us to the dust and debris on the factory floor.

This last installation very much reflected my whole extraordinary experience on the residency – not having any idea what work I would create – but allowing a response to the place and people to unfold freely, and to leave behind traces of my industry.







































































































































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