Penelope as a Verb (parts 1 and 2)
This work explores the dialectic of weaving and unweaving, inspired by the story of Penelope, who wove each day only to unweave her work each night, suspending herself in an autonomous space through a perpetual cycle of creation and destruction.
Without knowing how my installation would grow and change every day, I set up a camera to record the transformation in the work. Its construction (part 1) was filmed over a 6 week process, where each part was built in response to a cultural textile item from a museum collection. I responded to one individual item, and then undid my work, to change and re-make it in response to another item. As such my work, like Penelope, evolved through a cycle of accidental and simultaneous creation/destruction, which is recorded in the time-lapsed films. This bridges the gap between public and private, and emphasises the importance in the usually hidden and unpredictable art process. The films capture a practice entirely left to chance, in which the final exhibited piece and its evolution were indefinite and unplanned.
The work embodies unpredictability and change, as shown in ‘Part 2’ which shows the eventual deconstruction of the installation, which again I recorded to show the hidden and unknown aspects of the process.
The supporting still images are spontaneous photographs taken just as the projected film hits the moving fabric of the finalised installation.
Without knowing how my installation would grow and change every day, I set up a camera to record the transformation in the work. Its construction (part 1) was filmed over a 6 week process, where each part was built in response to a cultural textile item from a museum collection. I responded to one individual item, and then undid my work, to change and re-make it in response to another item. As such my work, like Penelope, evolved through a cycle of accidental and simultaneous creation/destruction, which is recorded in the time-lapsed films. This bridges the gap between public and private, and emphasises the importance in the usually hidden and unpredictable art process. The films capture a practice entirely left to chance, in which the final exhibited piece and its evolution were indefinite and unplanned.
The work embodies unpredictability and change, as shown in ‘Part 2’ which shows the eventual deconstruction of the installation, which again I recorded to show the hidden and unknown aspects of the process.
The supporting still images are spontaneous photographs taken just as the projected film hits the moving fabric of the finalised installation.
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