Working closely with the, Centre for Biophotonics, at Strathclyde University, I was immediately fascinated by the technology that they use to image cells and observe cell behaviour. It was the precision with which they observed cell samples that intrigued me. When discussing their research they spoke of a scale, invisible to the naked eye, breaking millimetres in fractions. Vision is a film-work, which plays with the act of looking and scale, magnifying and rendering the minute, immense.
Within this sculptural work title, ‘Fever’, I investigated, through the construct of a hybrid form, a domestic object, (a chandelier) built out of scientific utensils, (glass pipettes), what happens when the scientific and the domestic are brought together under a single form. Through the use of this hybrid form, the structure explores the unity between, science, creativity and the everyday.’
cells animation simulation
Very little of Motherwell’s past remains visible within the town today. The proposed work addresses this invisibility by presenting the town’s history through the names and occupations of its inhabitants, past and present. The art work, titled,“Re-call”, address not only the workers in the call centre itself, the large percentage of whom are from Motherwell, but also the town’s larger population. It is the people of a town which makes it unique – the multitude of separate identities which, collectively, make up the town’s identity. In The Lure of the Local, art historian Lucy R. Lippard has written on the power of place and on art’s capacity to be spun from and woven back into the fabric of a place. For a work of art to be truly of its place it needs to be deeply connected, not only to the physical space of its location, but also to the sociological and historical space of its surrounding community. Architecture articulates physical space, but it is communities of people that define place. The names forming the sub-stratum of this work constitute some of the few visible ‘remains’ of the towns personal history.
On the front of the glass is the etched image of the town of Motherwell today. Screen printed on the reverse is a cross section of the names and occupations of the residents of the town, dating from the late 1700’s up to the present day, This layering of visual information situates Motherwell both in concrete and human terms. The shiny reflective glass adds another temporal layer to the work, embedding each viewer into Motherwell’s history for a fleeting moment.
The source material for the work was collected from the headstones of local cemeteries, providing not only names but also the textured quality of the stonework, showing its erosion over time. The Motherwell Heritage Society offered access to research material and census books dating from the early to the late 1800’s. Directly involving the community, locals with a history in Motherwell provided me with contempory names and occupations of the town today. The etched image of the town was kindly supplied by the District Council’s Planning Department.