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Marion Ferguson and Jennifer Wicks: In September dawns I hardly breathe
2nd – 17th September Sat & Sun 11am – 5pm / Mon – Fri by appointment only. Preview: 1st September 2017, 6-9pm
Over a year of collaboration brings Ferguson and Wicks to The Pipe Factory to present their film and sculptural work. Taking its name from Nan Shepherd’s, ‘The Living Mountain’, this new installation is the continuation of their on-going collaborative research project, ‘Disturbance of Memory’, based around the historical and philosophical ideas of landscape and its relationship to experience and memory. These new works are transformed by chance, gesture, and interpretation to explore the landscape as a liberating metaphor and to investigate the transformative nature of time and memory. The interplay of surface, texture and materiality informs the works which seek to create a metaphysical tension for the viewer and question existing boundaries of medium specificity.
About the artists: Ferguson and Wicks make photographs, drawings, prints, sculptures and films, often combining them into multi-disciplinary installations.
Marion Ferguson’s work examines the landscape tradition via printmaking. The centred position of the viewer is blocked in her installed work, refusing to give her/him a privileged position in order to survey the sublime spectacle. As post-humanist non/spaces, her work uses various print techniques to record a terrain, using the rectilinear form of the soft ground etching process to record the ground under her feet. She then turns this foreground into midground/figure by printing or floating it over large transparent topographies, blocking her own and the viewers centred viewing position. Both subject and object (the landscape) are put in process; neither are finally knowable – yet are there.
Jennifer Wicks predominantly works within drawing, film, sound, sculpture and installation. Her interests lie in the relationship between sound and image and how sensory perception underpins our understanding of our environment and how this in turn affects memory, the construction of it and the inextricable link between memory and landscape. Also engaged with the relationship between video installations and sculpture: the critical effect of shifting film from its traditionally conceived (temporal) image-producing function to its (spatial) sculptural possibilities (and vice versa) and used in new ways and given new meaning. Informed by the concept of liminality and the liminal state between experience and memory, she explores this psychological transformation as a narrative process investigating the subjective nature of memory, history and time.
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