Under the bitumen the river

My spatial practice takes a spiral path that links dream, imagination, my body and the viewer. Sensorial experiences, spatial patterns and objects emerge from the images and ideas that surface and take form from this multidimensional matrix. My work is informed by non-rational ways of knowing and perceiving and the focus of this project will be to explore areas of non–rational perceptions and how they translate into artworks through the use of every day materials such as plaster, gelflex, agar, sisal, pencil and paper. <br><br>My objective is to create an experience in the form of an installation which will involve aural, tactile and visual components. <br><br>The work will draw on: <br>• Recording and exploration of dream. <br>• The imagination that is rooted in archetypal images and cultural myths and facilitates my capacity to work with images. <br>• My body as the point of reference through which the dreams, imagination, senses, ideas and materials come together and are translated into forms, patterns and events. <br>• My interaction with every day materials, procedures, techniques and technology. <br>• My position as viewer offering me a cohesive understanding of the process. <br><br>The dreams will be recorded in a diary and the images will be amplified by drawings, textual and visual research and connection with further dreams. This is a generative process distilling images, spatial ideas and forms that underlies and defines the work as it takes shape. <br><br>The imaginative process allows for ambiguities by drawing on an amalgam of images, materials, ideas, thoughts, forms and spatial considerations making connections between them. I create the potential for ambiguous readings for example work which is at once attractive and repulsive. I will investigate this aspect of the liminal in my work with reference to artists Carolee Schneemann, Anne Hamilton and Eva Hesse. My work references the body and its physical processes in a similar way to Eva Hesse, Carolee Schneemann and Kiki Smith. This creates a visceral and proprioceptive relationship between the work and the viewer. Research via provisional performance/installations will document this interaction and these observations will be utilised in the finished work. The outcome will be an installation that will give presence and form to dream, imagination and body through the use of every day materials, offering the participants an experiential mode of non-rational perception. The installation will be an imagined topography created from the interaction and dialogue between projected images, aural landscapes, tactile surfaces and spatial constructions.<br>