Towards the end of December and through January I have been developing a series of sculptures and their installation in which I am working with wire, fencing wire and medical wire to draw and paint within a space. I have been working with the thought of dissolving the containment and deconstructing the modernist grid. I have been thinking back to my early interest in the cut-ups of Brion Gysin and William S. Burroughs. The cut-ups being a method of deconstructing our societal norms and making new pathways for thought, poetry, painting and other art forms such as film making.
it comes in waves, 2022, steel coated wire, panel pins, H180cm x W260cm x DVariable
This video shows the final instalment in a month long exploration of working with the wire I had started to manipulate during my masters degree, the starting point being a dissolving curtain that had been part of a recurring dream involving the remembering and forgetting of my father. This work was originally shown in the Uppercase Gallery, UHArts, Hatfield in Summer 2021. The work was developed in the final showcase of the with:held Degree Show in September 2021. I decided to make new work and also recycle these pieces from the masters work and combine their energies.
if you cannot see it does it mean it doesn’t exist? 2022, steel wire, aluminium wire, powder coated wire, installed at Thames-Side Studios, H320cm x W320cm x 50cm. Each new installation will be different according to the space shown
This work was developed in the project/crit space at TurpsMASS HQ at Thames-Side Studios. We had a group crit with Mass/Turps Director Marcus Harvey. It was discussed how painterly the piece was and that it was made between the two columns like these were the frame, it had edges and it had composition. There was no problem with the materials used being disrupted fencing materials, but it was more of a graphic experience like a drawing or monotone painting.
Tina Culverhouse 