This is a fantastic exhibition and really interesting since he touches on some similar themes as my own work – overlooked process, narratives and labour, hidden in material traces and layers over time.
There were a number of pieces on the floor of the gallery throughout this exhibition – a mosaic piece Mauvaises Herbes, see detail below, a folded pieces of stage scenery depicting, apparently an archetypal desert island or tropical paradise, that we can’t see, and Spoil Heap, above, which is a floor constructed of teracotta tiles made from the discarded soil from an archeological dig.
The mosaic pictures beautiful weeds growing on the surface of the waste earth pile. Apparently it is common archeological practice when uncovering mosaics to cover them up after to protect them so he writes that piece, unearths a hidden narrative behind this practice of uncovering/re-covering. I think this is a really interesting idea – of finding and concealing for archeologists of the future to find again. I like the circularity to this and it reminds me of Cornelia Parker’s work with launching pieces of satellite back into space and re-covering objects found in archeological trenches in different locations. ‘I’d love to something like put a piece of moon rock on Mars and a piece of Mars on the moon, a sort of reverse archeology’. Parker. Glenmorangie Lecture, 2014. It’s almost like it has risen to the surface, above the marble floor of the gallery. I think there is something to think about here in relation to the work I’m doing with imprint from woodworm. Things surfacing, becoming visible, in the way that sediment and layers of rock will surface eventually.
These strange and beautiful crystal forms are part of an ongoing series of work called False Forms. They are individual pieces of jewellery,