PAST PROJECTS
Date 04-0202-0000-9999-9896-9594| 'WHOLE', LONDON, 2000 'Whole' constituted a series of interventions and installations at 'Home', a functioning domestic environment that also hosts art and performance projects. An interrelated series of works inhabited the whole house, from entrance hall to attic rooms. Slipped in amongst the existing functional and decorative artefacts were a variety of objects, still and moving images that sought to unsettle the familiar and to expose a possible private world, telling tales about the states and dynamics of real and fictional inhabitants. 
This work occupied a child's playroom, with toys spread all around, amongst which appeared to be fragments from a life-sized adult doll. The pile of truncated joints, in flesh-pink thermoplastic, were locked in uneasy positions, the possible body that they suggested adopting the uncomfortably 'seductive' posture of many images of women in men's magazines. |
| 'PRIVATE VIEWS', ESTONIA, 1999 An group exhibition of work from Britain and Estonia, curated by Pam Skelton and Mare Tralla, which engaged with notions of political, cultural, private and personal space in relation to gender and ideology in the two nations. Artists from the UK worked with their Estonian counterparts at the National Museum of Modern Art, Tallinn to curate and install the exhibition, which later travelled to The Institute of Contemporary Art in Dunaujvaros, Hungary. the project was the subject of a publication of the same name, with Essays by writers from both countries exploring" the meanings held by tradition and technology, feminism and post feminism, national discourses and the market, both locally and globally" 
'Drying Up' is part of a pair of related images which are installed within the real architectural features of two adjacent walls, opening possible other spaces through their respective doorway and window frame, and effecting a momentary trompe l'oeil. The images feature apparently everyday scenarios but come to implicate the viewer in an altogether more peculiar narrative. 
They offer a fleeting glimpse into the private moments of possibly related individuals, and reveal a curious menifestation in the flesh of both of the subjects: The possible result of some physical, emotional or psychological interaction, this further freights these momentary narratives with the simulataneous possibility of beauty and horror, tenderness and brutality. |