St Andrew’s, 2023
Latex, stainless steel c clamps, galvanised wire.
St Andrew’s (2023), a skinning of a church aisle made from talc-powered rubber calls on Jens Hausers’ neologism ‘sk-interfaces’ conceived for the exhibition-publication of the same name (Sk- interfaces: Exploring Boarders – Creating Membranes in Art, Technology and Society (2008), and ‘Forensic Architecture’ (Weizman 2012), to produce the sculptural membrane where: ‘skin is no longer a membrane of separation but a medium of connectivity’ (Jagodzinski, 2012). The work meditates on the premise of thin-spaces where the sacred and secular become imperceptibly close. As Hauser puts it, mediating membranes necessitate consideration – ‘membranes conceived as active rather than passive, membranes that do not merely separate insides from outsides nor are simply crossed or transgressed, but as negotiated’ (2008:6).
Exhibited at GLOAM’s studio-holder show at Two Queens, Leicester, UK.
Latex, stainless steel c clamps, galvanised wire.
St Andrew’s (2023), a skinning of a church aisle made from talc-powered rubber calls on Jens Hausers’ neologism ‘sk-interfaces’ conceived for the exhibition-publication of the same name (Sk- interfaces: Exploring Boarders – Creating Membranes in Art, Technology and Society (2008), and ‘Forensic Architecture’ (Weizman 2012), to produce the sculptural membrane where: ‘skin is no longer a membrane of separation but a medium of connectivity’ (Jagodzinski, 2012). The work meditates on the premise of thin-spaces where the sacred and secular become imperceptibly close. As Hauser puts it, mediating membranes necessitate consideration – ‘membranes conceived as active rather than passive, membranes that do not merely separate insides from outsides nor are simply crossed or transgressed, but as negotiated’ (2008:6).
Exhibited at GLOAM’s studio-holder show at Two Queens, Leicester, UK.
