'Public Sculpture (The Social)' 2010

Commisssioned by Frieze Art for the Frieze Sculpture Park The project presents the image of a sculpture as a sculpture, installed in the form of a large scale digital print on vinyl stretched over a 14 x 28ft (4.2 x 8.4m) stretcher supported by a scaffolding structure. The image itself depicts a futuristic public sculpture, an ‘impossible’ artwork, referencing Ballard’s descriptions in his book ‘Vermillion Sands’. The work also draws upon examples of rococo ornamentation and the compositional conventions of ‘images of sculpture’ (in art magazines, catalogues, publicity photos) including examples sited in Regents park in previous years. Technical details: The image is printed on vinyl, stretched over a 14 x 28ft (4.2 x 8.4m) wooden stretcher and fixed to a deep buttressed scaffold 8m long by 6.23 deep with IBC water tanks on the back edge as kentledge (4 x I tonne IVC water containers - 1 per bay). The structure is constructed from clean silver Layher system scaffold and wrapped by a dense black mesh netting.

Can objects perform?: agency and thingliness in contemporary sculpture and installation

In his 1967 essay, “Art and Objecthood”, Michael Fried bemoaned the theatricality of minimalist sculpture, which replaced the presentness of compositional sculpture with the staging of an experience for the viewer as performer. His argument has since been inverted by artists and art writers invested in the idea of sculptures as props forming part of an artistic experience economy. This discourse has accompanied the rise of relational aesthetics as a dominant paradigm for contemporary art. More recently, however, there has been a turn away from relationality to ‘object-oriented’ art, where objects are seen to stage their own theatrical experiences, performing themselves without requiring the activation of a viewer’s body. We trace parallels between the philosophy of Bruno Latour and the “Speculative Materialism” group and this emerging trend in sculpture. In ascribing agency to objects, Latour proposes a radical shift from philosophy’s traditional investigation of the relationship between the mind and the world. Drawn to the idea that matter can be creative, artists have embraced his thinking. However, we argue that this has lead to a generalized, universalizing humanism that disables political action. Moreover, it undermines the potential for anti-humanist critique latent in object-oriented philosophy.

Pre-Columbian landscape impact and agriculture in the Monumental Mound region of the Llanos de Moxos, lowland Bolivia

We present a multiproxy study of land use by a pre-Columbian earth mounds culture in the Bolivian Amazon. The Monumental Mounds Region (MMR) is an archaeological sub-region characterized by hundreds of pre-Columbian habitation mounds associated with a complex network of canals and causeways, and situated in the forest–savanna mosaic of the Llanos de Moxos. Pollen, phytolith, and charcoal analyses were performed on a sediment core from a large lake (14 km2), Laguna San José (14°56.97′S, 64°29.70′W).We found evidence of high levels of anthropogenic burning from AD 400 to AD 1280, corroborating dated occupation layers in two nearby excavated habitation mounds. The charcoal decline pre-dates the arrival of Europeans by at least 100 yr, and challenges the notion that the mounds culture declined because of European colonization. We show that the surrounding savanna soils were sufficiently fertile to support crops, and the presence of maize throughout the record shows that the area was continuously cultivated despite land-use change at the end of the earthmounds culture. We suggest that burning was largely confined to the savannas, rather than forests, and that pre-Columbian deforestation was localized to the vicinity of individual habitation mounds, whereas the inter-mound areas remained largely forested.

The Marlborough mound, Wiltshire. A further Neolithic monumental mound by the River Kennet.

Recent radiocarbon dates obtained from two soil cores taken through the Marlborough Castle mound, Wiltshire, show the main body of it to be a contemporaneous monument to Silbury Hill, dating to the second half of the 3rd millennium cal bc. In light of these dates, this paper considers the sequence identified within the cores, which includes two possible flood events early in the construction of the mound. It also describes four cores taken through the surrounding ditch, as well as small-scale work to the north-east of the mound. The topographic location of the mound in a low-lying area and close to rivers and springs is discussed, and the potential for Late Neolithic sites nearby is set out, with the land to the south of the mound identified as an area for future research. The paper ends with the prospect that other apparent mottes in Wiltshire and beyond may well also have prehistoric origins

Why we need new spectacles: Mapping the experiential dimension in prehistoric Cretan landscapes

The Bronze to Iron Age transition in Crete, a period of state collapse and insecurity, saw the island's rugged, high-contrast topography used in striking new ways. The visual drama of many of the new site locations has stimulated significant research over the last hundred years, with explanation of the change as the main focus. The new sites are not monumental in character: the vast majority are settlements, and much of the information about them comes from survey. Perhaps as a result, the new site map has not been much studied from phenomenological perspectives. A focus on the visual and experiential aspects of the new landscape can offer valuable insights into social structures at this period, and illuminate social developments prefiguring the emergence of polis states in Crete by c. 700 BC. To develop, share and evaluate this type of integrated study, digital reconstructive techniques are still under-used in this region. I highlight their potential value in addressing a regularly-identified shortcoming of phenomenological approaches-their necessarily subjective emphasis.

Why we need new spectacles: Mapping the experiential dimension in prehistoric Cretan landscapes

The Bronze to Iron Age transition in Crete, a period of state collapse and insecurity, saw the island's rugged, high-contrast topography used in striking new ways. The visual drama of many of the new site locations has stimulated significant research over the last hundred years, with explanation of the change as the main focus. The new sites are not monumental in character: the vast majority are settlements, and much of the information about them comes from survey. Perhaps as a result, the new site map has not been much studied from phenomenological perspectives. A focus on the visual and experiential aspects of the new landscape can offer valuable insights into social structures at this period, and illuminate social developments prefiguring the emergence of polis states in Crete by c. 700 BC. To develop, share and evaluate this type of integrated study, digital reconstructive techniques are still under-used in this region. I highlight their potential value in addressing a regularly-identified shortcoming of phenomenological approaches-their necessarily subjective emphasis.

Taxonomical musings

In the ‘Object as Subject’ exhibition held at the Stephen Lawrence Gallery, Greenwich University, myself and two other artists showed work which explores the use of the ‘found object’ in their respective practices. My work was selected by the gallery curator David Waterworth. The work exhibited by me, two multi-media pieces and two films, continues my (practice as research) investigation into using everyday objects as starting points for creating work in a variety of mediums including: sculpture, films, installations and multiples. In this work I address a range of subject matters – philosophical, social and cultural. The history of the use of found object in art began in early 20th century European art when Marcel Duchamp and Pablo Picasso independently introduced everyday objects into their practice. My work continues this research.