A methodology of practice
My methodology uses explorations of key themes in the making process—experiences of journey, figure-ground analysis, polyvocality and collaboration. The process relating to experiences of journey is one of creating ‘atmosphere’, the essence of the ‘why’ which leads the ‘how’. Figure-ground analysis informs the placing of the sculpted elements, both figures and settings. Polyvocality allows a method of expression which encircles and filters through the sculpted elements beyond to the viewing audience. Collaboration is the process of dialogue and communication required for the realisation of large-scale public sculpture. The case studies in Chapter 5 set out applications of this methodology in different combinations of method: a body of work which explores an organisation of spaces through diagrammatic studies.
My micro-space contextual and methodoligical components
Experiences of journey
Creating ‘atmosphere’ is an integral part of my practice. Atmosphere is crafted to inform the creation of intimate spaces, my micro-spaces, with the viewer guided through the experience to discover an understanding of the sculpture within its social context. Atmosphere changes the human experience in terms of biological rhythms and cycles.
I work with light, shadow, echoes, aromas, air and sounds. All are continuously and constantly changing; they are rhythms of nature. The integral effect is physical, emotional and spiritual. The effects create a dynamic connection with nature, but also a tension, increasing the human awareness of our connection with each other.
Art galleries and museums have become increasingly event-focused. The visitors viewing the artworks can simultaneously experience small-scale public events of music where audience participation can be ‘borrowed’ across adjacent spaces. In the case of sculptural exhibits, visitors can view sculpture and installations, sketch and photograph artworks, whilst listening to musical performances taking place. These adjacent-located experiences of viewing artworks allow a sense of different experiences to inform each other; a mix of public participation and performance of sculpture and music – an added layer of the experience of journey.
In my work, solid forms and surface textures create ‘sound’ which vibrates within the micro-spaces, providing the viewer with a palpable sense of spatial boundaries—an additional tool of awareness of scale and arrangement of space. If something looks interesting, a visitor’s curiosity is awakened; that sense of curiosity becomes a specific inquiry into the artwork. The inquiry leads to an exploration and an interaction with the sculpture. This approach is what my sculptures aim to achieve: a constant interaction with all the senses.
In my larger work, I developed a sculptural language and sense of form that created an atmosphere of ‘mood’ based on themes of social issues of acculturation and miscommunication. These two examples encapsulate the mood through texture, materials and colour. The visceral atmosphere is created from the materiality used.
Figure-ground analysis: from micro-space to public space
The method of figure-ground analysis dates from the 18th century. My research has drawn on what are known as Nolli diagrams, as a way of analysing semi-public spaces in relation to surrounding external spaces and adjacent buildings. The black areas in the diagram delineate the mass of built forms, the white areas refer to the voids, such as roads, paths and open spaces. These diagrams are a way of reflecting the experience and use of public spaces by the passing public.
The method of figure-ground analysis allows me to locate my micro-spaces from their concept maquette stage into full-size proposed pieces of public sculpture, each strategically placed in a public space. I demonstrate this through hand-drawn aerial views of existing public areas in London, placing key maquette examples.
Polyvocality
Polyvocality in my work makes use of multiple voices as a narrative, encouraging the diverse readings of social context. Polyvocality provides a platform for bringing together many voices to carry and nurture narrative change.
In using polyvocality as part of my methodology, the sculpted figures offer multiple voices— narratives and dialogues—creating a sequence of changing atmospheres. Each composition delivers an individual, imagined theatrical setting, which in turn prompts inquiry and dialogue with the viewing public—this public also including those, who, through acculturation, can find a voice.
Within my projects, polyvocality is also added into the immersive spaces I create which are physically accessible and at the scale of the visitor. This approach encourages an interactive dialogue between the sculpted elements of figures, vertical screens and platforms, providing a physical playground which envelops the viewer. This ‘envelope’ provides the visitor with a place and an atmosphere to question, to pause within, to sit, to inquire and dwell on their feelings.
The next steps in my use of polyvocality are to bring spoken word, audio recordings and moving image into my micro-spaces. It is my intention that my work becomes a performance to which layers of atmosphere may be added; creating an enticing four-dimensional experience for the audience.