This isn’t it explores an approach to art making that develops relationships between research, practice and outcomes with a view to failure as a critical space the artist occupies in these activities. The work develops from a place of unknowing that is integral to the artist’s research and practice. It does not seek to know through its outcomes, but to deliver a sense of this critical space of failure through the fundamentals of installation, whereby the whole is greater than the sum of its parts.

This isn't it is constructed of various individual but interrelated components. A sound piece is composed of an irregular tempo and pitch that does not support any physiological harmony for the viewer – it does not allow an involuntary and bodily ‘falling’ into the rhythm. The composition draws on three notes of a particular score in the original film Willie Wonka and the Chocolate Factory (1971) and through repetition, tempo and pitch, builds a restless anxiety into the work. A super 8 film piece and neon text are triggered on and off erratically in relation to different structural aspects of the track. These are independent of one another and likewise, do not follow a regular rhythm. The super 8 film documents a struggle to perform both inside and outside the studio space. It was shot whilst on residency at the Centre Culturel Irlandais in Paris in 2013. The neon signifies moments of clarity within the creative process, realizations attached to intention and manifestation that emerge from the muddy space of unknowing. An electrical element also operates in response to the audio, pulsing intense and immediate heat intermittently and introducing a degree of volatility to the climatic conditions of the space.

These features are hyper sensory renderings of the audio composition and together with it, collectively function as a mechanism to deliver the psychological qualities of the work. The inability to ‘fall into sync’ physiologically with the sound, visual and environmental aspects of the installation, suspends the viewer in an unsettled and disrupted experience. The work invites the viewer to engage with its restless energy, which does not attempt to resolve, but is relatable to the critical space of failure that I explore in my practice.

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