Installation sketch Installation sketch
Perhaps two hundred hanging strips of delicate, translucent paper with 16 pairs of strips with surface transducers and contact mics each to create a feedback loop when they touch. Each row of the ten will be made up of two large sheets of paper that will, before separating, each have a complete image on them.
The image will be a visual interpretation of my experience of listening to the voices recorded in a workshop I will run on group toning. Each row’s 2D image will contribute to a 3D image so as to form a circle to continue a non-lingual sensuous dialogue that exists continuously in-between.
Translucency is important with this work and allows for the potential reading of what is seen as something faint and passing, like memory. This is done so beautifully in the fine silk and needles of Doris Salcedo’s Disremembered, 2014 and Mira Scendel’s Monotype’s where the use of fine Japanese paper and an adaptation of monotype printing allowed for a double sided image. This double sided quality is essential in not creating a front facing object, as suggested by Ingrid Plum, so visitors can move around the sculpture to see and hear its spatiality. Schendel’s technique is something I would like to try.
