The studio photography of this work was undertaken with the exceptional Jon Linkins. Taking studies into the vacuum like atmosphere of a photographic studio is a fantastic moment to really see the work for what it is. This step is essential in seeing with fresh eyes. It ensures the true character is witnessed and may shine through in the photography, in later text and descriptions, and even in the work’s name. Jon and I intended to play with the scale and arrangement of these particular pieces to emphasise their strong presence and character of form and material. The final descriptive text below (edited kindly by Fleur Watson from Pin-Up Architecture and Design Project Space) was informed by these important moments in the studio:
Shadow Set is made from reclaimed black rubber. The material’s darkness, fluidity and overlay suggest the transient quality of shadows moving across a surface. In Shadow Set, the objects suggest they haven’t quite settled on their final form. Like hands casting a shadow of a rabbit, the source object is allusive – one may see a hint of rhinoceros beetles, bats, jellyfish, currawongs and flowers in the overlapping arabesques.
Installing works in a gallery environment is also an important moment in the process. Every installation in a new environment is different. For Trace at Pin-Up Project Space, we installed the pieces in a hanging cluster. Light was used to throw the distinct interior forms of the pieces as beautiful shadows on the wall. This re-enforced their nature and made people aware of space itself: the space between the elements within the work, between the lights and the walls of the gallery, and between the works and their shadow. Photographer Tobias Titz documented this quality beautifully.