Documentation and thought process; Where is this going?

The project has begun to for a tangible shape once more, despite it being a foray into experimentation, the act of ‘Embracing’ either oneself, or more than likely the act of embracing another human, has become the single goal of this process. I began to take photographs of flesh, nothing discernable as a body part, though still seen as human, that could evoke a sense of locking together, and becoming one.

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Although the last image is more discernable than the others as a body, I still wanted to include it. The word I think of whilst thinking of these images is ‘coiled’; much like a snake does with itself, or with another during coitus. There is a sense of warmth here, an aspect of comfort or retaining. I look to these images as inspiration for my ’embrace sculptures’.

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Taking inspiration fro Sarah Lucas’ work I began experimenting with tights, in order to gain a much more ‘flesh-like’ texture and appearance to the coiled sculptures. The first image is of a tight creature that was stuffed with merino wool; it’s soft to the touch, and radiates a flesh-like appearance, seemed like a section of intestine, which is quite gruesome (something that I did not intend for it to look like at all). The second, is stuffed with crumpled paper, which gives it a very strange type of texture, not unlike dried and cracked skin. However, it has this odd soft texture over it, as if the flesh underneath the skin had crystallised. How interesting.

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The tights were interesting, but did not give me the desired effect that I wanted, so I went back on myself. I looked at the wool ‘forms’ I had already created, and began to create some more out of the ultra soft merino wool I had started to experiment with. The effect, was beautiful. The soft wool referenced the soft caress of another’s skin, of a warmth found within such an embrace or coiling, it started a thought process in my head; ‘these things are beautiful, but could I be able to craft a more human aspect to them?’ I began to think of Cerith Wyn Evans’ piece ‘ “S=U=P=E=R=S=T=R=U=C=T=U=R=E (‘Trace me back to some loud, shallow, chill, underlying motive’s overspill…’),” (2010) that I had seen at the ‘Light Show’ at the Hayward Gallery in Southbank last year, in which three tall columns dominated the lower room, lighting up and fading away with a warm, incandescent light. The effect was mesmerising, they seemed to breathe, they seemed to live. How could some light simulate such an effect? I want to craft lights that once fitted within the Forms, would fade in and out, much like a heart beats slowly, in rythm, keeping time in moments when time has no precedence.


Cerith Wyn Evans, “S=U=P=E=R=S=T=R=U=C=T=U=R=E (‘Trace me back to some loud, shallow, chill, underlying motive’s overspill…’),” (2010)

(Image taken from:


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