The focus of my work is to explore the often-misinterpreted impulse control disorder called Trichotillomania, whereby a person has the irresistible urge to pull hair out anywhere on the body. Through the use of scanography, sculpture and video I aim to produce the closest representation of my own personal experience, while at the same time expressing emotions that have more general currency with any audience. My most recent work shows the conflict between appreciation and frustration from what my hands are capable of and the behavioural stages of impulsivity while exploring visuals, sounds and feelings that can cause relaxation.
I made a small box to house an iPod and drilled a hole to attach a pair of headphones, it’ll be placed alongside the prints and play the sounds of the materials used in the scans as well as a sponge to replicate playing with hair and the popping sounds of bubble wrap with the aim to induce ASMR and relaxation.
My only concern is that i will be overcrowding my space and the sound might clash with the other pieces. If I had two separate spaces or a straight wall instead of an L shape, i would’ve definitely displayed the sound alongside the scans.
For some reason, probably due to accidentally choosing the wrong scanner settings, a few of the images are of lower quality in comparison to the others. This wasn’t noticeable until the images were blown up to A2 and printed for the show. With limited time left, i quickly decided to erase the large smudges and to sharpen the detail before reprinting. However, now the little specs of dust and hair are more prominent and i’ll have to make a decision as to whether to have a low quality image, or an image that looks like it needs a dusting. To some extent the aesthetic flaws of using a scanner work to my advantage, there is only so much i can do to avoid my hair from appearing on scanner because it’s usually clinging onto my clothing throughout the day.
The instillation of the monumental sculpture for the 2017 Venice Biennale has recently been finished. The piece consists of two giant hands stretched out from the water in order to support the hotel. It’s a visual statement against climate change and the rising sea levels that effect the city. It has influenced me to revisit making 3D forms of my hands after i’ve finished my degree, using a material other than plaster and clay. I would like to explore the scale of my work like i have done with the prints. I’m disappointed that i will not be attending this years Biennale because i’d love to see this piece of work in person.
At first i was overwhelmed with the amount of work that is put in to building the show and preparing my space but with the dedication from third years and the help from my allocated first year Karl, i was surprised by how fast it all came together!
I had originally planned on hanging my clay pieces but they are too fragile to risk displaying them on an unsteady wall. I compromised by placing them on a plinth in the middle of the floor which also used up the large space more effectively. Having more wall space available, i decided to also display prints with the possibility of sound to accompany them. Having several finished pieces, i am keeping my options open and can easily adapt them to the space provided.