Drawing/contact explored a number of routes around viewing devices and visual games: these were called kaleidoscopes or peripheral vision; some of these were digital, others analogue, some involved others: I posted out three singular prints on A4 copy paper to await a return, they returned as a viewing device box, the Boris box, spikey; and the other was a set of chemical experiments on a kitchen stove).
(see here for all posts concerning kaleidoscopes)
In the making of the Trafodecken, the transformer blankets, I ended up with numerous close-ups, onto the indexical tracings, the effects of weather and enviroment, or skimming the surface of the paper into the wooded distance. As they were made on tracing paper, the translucency of the material played with sun and shade. The stiffness of the dry paper would hold shape well.
I hung them into trees, across low fences and pollards, installed in a holiday rental kitchen space, used them as zoom backdrops (with my dad modelling the cosmic weather forecast), but overall, I remained uncertain as to the status of the work: was it process or object, and if object what and where?
After BoW 4 I envisaged to resolved the scale and ambition of site along with a sense of immersiveness (or rather, what become with Laura Marks a notion of the haptic and the erotic). My approach was to create a ‘drawing’ of the site, its processes and how it interrelated. This would be an assemblage (other suggested to call it a map). The viewing devices and visual games resurfaced at this moment and I begun to think of how the idea of ‘climbing into’ the rolled up covers could become them being utilised as a viewing device, a kaleidoscope.
One day I tried out two locations on the meadow/forest edge: first a tree at the entrance (too close to the blanket on the transformer station; also too much a site for dog toilet to feel confident about stepping close). Then I found two bushes a bit further along and I propped the two sheets of blanket 1 (the luminous one) into the bush, one facing skywards (which was a direction I employed with a series of viewing devices), the other skimming horizontally along where path, trees and meadow meet. They are loosely rolled, the luminous ink stains, which resulted from a week of solid rain) to the inside. The sun would fall onto and into them from the top left, tracing branch and leaves as well as the various layers of the paper itself. The view hole fairly small compared to the inside of the viewing device. There is a sense of careful stepping in and towards the two devices, for one you reach up, for the other you crouch a little. I am wondering if for a show it would like a little stepping plate on the ground (or if that would detract).
The development process of final placement and form is here:
1. viewing device images in production process
2. site 1 (abandoned) next to the path
3. site 2 (chosen) further along the meadow edge
4. install process
5. the viewing device in use