Monument

Make a space
For my body
Dead or whole
Push this side apart
This is what I’m controlling
It’s a mold, the inside that I cart

 

This will be my monument
This will be a beacon when I’m gone gone gone
When I’m gone gone gone
When I’m gone
Soon when that moment comes,
I can say I did it all with love love love
All with love love love
All with love

 

Make a cast of my body
Pull back out,
So that I can see
Make a world
Are you ruling?
Make a world
That I used to be

 

I will let this monument
Represent a moment of my life life life
Of my life life life
Of my life
I will let this monument
Represent a moment of my life life life
Of my life life life
Of my life

 

Make a cast of my body
Pull back out,
So that I can see
Make a world
Are you ruling?
Make a world
That I used to be

Song: Monument, Songwriters: Robin Miriam Carlsson / Svein Berge / Torbjorn Brundtland / Adam Bainbridge / Busiswa Gqulu

 

Monument

Music is a large part of sentimentality and has connotations of transcendence.

This concept I feel can be applied and articulated through visual art, primarily in my practice – photography. This was something that I started to consider when noticing the subconscious pairing of my music listening habits whilst creating work.

 Monument, as an object, carries many connotations; strength, power, memory and importance, and scale. This, my monument, I wanted to reflect a more genuine moment in life. One that is more identifiable. A time of contemplation, sorrow, weariness and powerlessness.

I wanted to reflect the perspective that as humans we can at times feel the weight of our memories, accumulated over the span of our lives. And therefore the trace left behind, no matter how seemingly insignificant, is still monumental.

Monument #1: Black and white digital photograph. Part of an experimental range of documentation where I have adjusted images and stitched with others to create an atmospheric, multi-tonal image.

During this experimental stage of making the clay model, I was still unsure as to whether the sculpture would be the piece or if instead it would be the photographs and documentation that would actually be what I considered to be the work.  The reason for this being was that I would be able to quickly create a series of images that are quickly adaptable in order to play with positioning, background, colour and tone.

Still trying to push the perimeters of photography within my practice, it also was an experiment to see if this would succeed as an artwork within an artwork. I contemplated the practice of creating models for subjects for photography rather than the sculpture being an artwork in its own right and enjoyed the layering effect and depth both literally and metaphorically that was a result of this process.

Detail from the series monuments, 2013 – 2019 26.7 x 41.0cm, Inkjet on paper, 2019, composition detail from the series Monuments, multiple images made by a layering of old and new images and using photography to ‘paint’ scanned illustrations.

Untitled, 2019, 60x60cm, tracing paper, inkjet print and mirrored acrylic. This piece utlised an image from the series Monuments that was void of the figure in order for the mirror to provide refelction of the viewer in place of the figure.

Monuments, 2013 – 2019, full series of 9 images, overlaid with tracing paper.