Boundary
Boundary is a drawing about the impact of water on a city Minamisanriku in Japan an attempt to look at an environmental and historical moment brought about through the power of water,the seismic shift between presence and loss of one city.
Dream like -Media footage of the devastation caused by the Tsunami in places such as Minamisanriku, in the Motoyoshi district of Japan made me consider the technological gap between witness and event. It fundamentally challenges how we relate to the sea and our own urban landscape and cities.
How does that relate to the intimate activity of drawing?
“How can mankind experience its own destruction as an aesthetic pleasure”- walter Benjamin
In it I researched the Japanese woodcut of Hokusai and after looking at them at the V&A I referenced elements of the way in which he uses line , repetition, decoration and blank spaces to balance the final piece.
The sections work several ways splicing the image and re emphasizing the frame and the viewer. So the image becomes fractured and broken repeating itself – this is a metaphor for the endless cycle of repeated Tsunamis across the world.
Fragile architecture floating, moving across the land – what we perceive as immovable – cities were shown to be swept away in moments.
It is a site of disappearance and erasure but also accumulation. I wanted a pause and contemplation of what was once present and is now missing. – it uses technology and yet goes back to the basics of etching and drawing.
The plates are made through blowing up the poor quality images and intensive looking and inventing of what was there in the picture. The same positive and negative prints are placed together -visually extending the topography.
The piece can be shown in many ways – I have included an earlier instillation photograph ( photo 4 ) to show how each plate is 36 x 36 inches square can be printed separately and put together.
The Photo 1 and 2 show the piece 270 m long made up into a glassless black frame panel and presented onto a black wall – this became part of the work as I wanted the print to float on the black wall.
Etching has provided me with a process for re inventing my drawing.
Italo Calvinos ' Invisible Cities'
The city “Zora has the quality of remaining in your memory point by point, in its succession of streets, of houses.....Zora's secret lies in the way your gaze runs over patterns following one another as in a musical score where not a note can be altered or displaced.
Zora forced to reman motionless and always the same , in order to be more easily remembered, Zora has languished, disintegrated, disappeared. The earth has forgotten her.
Chapter 4 cities and Memory
Dream like -Media footage of the devastation caused by the Tsunami in places such as Minamisanriku, in the Motoyoshi district of Japan made me consider the technological gap between witness and event. It fundamentally challenges how we relate to the sea and our own urban landscape and cities.
How does that relate to the intimate activity of drawing?
“How can mankind experience its own destruction as an aesthetic pleasure”- walter Benjamin
In it I researched the Japanese woodcut of Hokusai and after looking at them at the V&A I referenced elements of the way in which he uses line , repetition, decoration and blank spaces to balance the final piece.
The sections work several ways splicing the image and re emphasizing the frame and the viewer. So the image becomes fractured and broken repeating itself – this is a metaphor for the endless cycle of repeated Tsunamis across the world.
Fragile architecture floating, moving across the land – what we perceive as immovable – cities were shown to be swept away in moments.
It is a site of disappearance and erasure but also accumulation. I wanted a pause and contemplation of what was once present and is now missing. – it uses technology and yet goes back to the basics of etching and drawing.
The plates are made through blowing up the poor quality images and intensive looking and inventing of what was there in the picture. The same positive and negative prints are placed together -visually extending the topography.
The piece can be shown in many ways – I have included an earlier instillation photograph ( photo 4 ) to show how each plate is 36 x 36 inches square can be printed separately and put together.
The Photo 1 and 2 show the piece 270 m long made up into a glassless black frame panel and presented onto a black wall – this became part of the work as I wanted the print to float on the black wall.
Etching has provided me with a process for re inventing my drawing.
Italo Calvinos ' Invisible Cities'
The city “Zora has the quality of remaining in your memory point by point, in its succession of streets, of houses.....Zora's secret lies in the way your gaze runs over patterns following one another as in a musical score where not a note can be altered or displaced.
Zora forced to reman motionless and always the same , in order to be more easily remembered, Zora has languished, disintegrated, disappeared. The earth has forgotten her.
Chapter 4 cities and Memory
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