EXPLORING MEMORY THROUGH PRINTMAKING
IMPRESSIONS AND IMPRESSORS
I am interested in the possible experiential dislocations arising from non linear perceptions of time. The essence of time lies beyond the often-external reduced definition of time that makes the world function. I want to investigate how interactions in time moulds our present perception. I used process of printmaking to reveal ‘micro histories’ of the materials used such as the burnt marks from laser etching, the wood grain, acid, grounds and tarlatan cloth, invoking a passage of time on a surface. The print is vulnerable to all aspects of the environment, many variables of which can only be controlled and finely tuned through repetition and intuition. The final print reflects a capturing of time passed, making each print a memory of previous actions.
The embossings take an ambiguous position between reality and representation. The traces in the print address a space between the depicted narrative of the image, material presence of the plate and the viewer’s spatial environment. In Pompeii, Herculaneum and my site, Hythe, the essence of time is revealed through the unfolding layers of materials, which become a composite material. Its historical narrative weaves in with our own present narrative leading to a reconstructed reality. I created a media taxonomy from constructing plates with materials from site. The act of printing reveals the withdrawn qualities of the material. The plate becomes a tangible memory of the process. The act of folding and imprinting multiplied the relationships between distant surfaces, constructing opportunities for spatial recollection.
My interest in duration led me to the program of a bowling green for people who are removed from society and experience time differently, relying on their own internal rhythm. Like the print going through the press, the bowling green is exposed to a process of erasure and creation within the uncontrolled undulation of the roughs, through compression in play and release in maintenance.
The visitor’s trajectories of anticipation and desire leading up to the Bowling season are juxtaposed with the greenkeeper’s daily routine carried out to maintain the green throughout the year to create a high performance surface. I began to embody the program within the architecture. Bowls is a strategic game requiring an understanding of the topography of the bowl and lawn surface.
Through the program, I became more specific about the spatial resonances and constructions of recollection through certain activities, durations and times in the year. I embodied the plate with the program. For example, the Bowling Green Shop, the Restaurant, the Awards, presentation room, the Locker Rooms and the Trophy Corridor. The plate becomes a fragment of the building, which also constructs the architecture itself determining the internal and external figuration. There are three components to the architecture- the folding of elements, which allows the mind to make continuities between parts, the function of light in activating these relationships. Like the printing process, repetitive visits mean you understand the place in a cumulative way, in fragments rather than a whole.