Lessons in Living
Broadworks by Hive Curates
London
A multi sensory two part installation Lessons in Living on the ground floor and Forgotten Dreams in the basement
Broadworks by Hive Curates
London
A multi sensory two part installation Lessons in Living on the ground floor and Forgotten Dreams in the basement
Light on Water
Palaeolithic ochres, umbers and bone black in linseed oil, chalk egg yolk and water, on Arches huile paper, 130x225cm
Feathers, Paleolithic ochres and umbers, bone black in linseed oil, egg yolk, chalk and water on Arches huile paper 130x170cm
Sunlight Behind My Eyelids
Ochres and umbers collected from the Lot cave painting region in France, iron oxide, raw umber greenish, linseed oil, French chalk, egg yolk, water, Arches huile cotton rag paper
130x200cm
After Visiting Penone, Palaeolithic ochres, umbers, iron oxides, bone black and manganese black in oil, linseed oil,French chalk, egg yolk, water on Arches huile paper, willow branches, Thames Chalk, installed with steel rods, steel wires and corrugated plastic tubes, as installed 3x3x3m painting 130x900cm
Crows at Battersea Park,
repurposed domestic fan head, khadi paper, ochre, chalk, hardboard, pine timber, chalk collected from across the UK, willow, scraps of Arches huile paper, graphite pencil, plinth,
40x150x80cm
Unspoken Desires, cardboard box, post it pad, pens
10x10x20cm
While at the RCA, I read Bataille's assertion that women could not have painted the caves because they do not desire...I'll just leave that there for a moment.
While holding in our hands material pigments that were held in the hands of, or under the feet of, or in the clothes on the back of people from the past, we hold lost voices across time an entangled assemblage with the present. There is a way in which we touch and are touched, change and are changed.
I am listening for the voices that may not have made it to the official record, but that haunt the archives in their absence. The voices, and aliveness, both human and non human that can be found in material and in time touching time.
Rebecca Schneider talks of feeling a hail, and the space between the hail and response as a place where anything can happen.
While holding in our hands material pigments that were held in the hands of, or under the feet of, or in the clothes on the back of people from the past, we hold lost voices across time an entangled assemblage with the present. There is a way in which we touch and are touched, change and are changed.
I am listening for the voices that may not have made it to the official record, but that haunt the archives in their absence. The voices, and aliveness, both human and non human that can be found in material and in time touching time.
Rebecca Schneider talks of feeling a hail, and the space between the hail and response as a place where anything can happen.
