'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.

Display, disclosure and concealment: the organization of raw materials in the chambered tombs of Bohuslän

The Neolithic chambered tombs of Bohuslan on the west coast of Sweden were built out of locally occurring raw materials. These exhibit a wide variety of colours, textures and mineral inclusions, and all were used to contrive a series of striking visual effects. Certain of these would have been apparent to the casual observer but others would only have been apparent to someone inside the passage or the burial chamber. There is no evidence that the materials were organized according to a single scheme. Rather, they permitted a series of improvisations, so that no two monuments were exactly alike. The effects that they created are compared with those found in megalithic art where the design elements were painted or carved, but in Bohuslan all the designs were created using the natural properties of the rock.

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.

Plant chemistry and aphid parasitoids (Hymenoptera : Braconidae): Imprinting and memory

Emerging parasitoids of aphids encounter secondary plant chemistry from cues left by the mother parasitoid at oviposition and from the plant-feeding of the host aphid. In practice, however, it is secondary plant cheinistry oil the Surface of the aphid mummy which influences parasitoid olfactory behaviour. Offspring of Aphidius colemani reared oil Myzus persicae on artificial diet did no distinguish between the odours of bean and cabbage, but showed a clear preference for cabbage odour if sinigrin had been painted oil the back of the mummy. Similarly Aphidius rhopalosiphi reared on Metopolophium dirhodum on wheat preferred the odour of wheat plants grown near tomato plants to odour of wheat alone if the wheat plants oil which they had been reared had been exposed to the volatiles of nearby tomato plants. Aphidius rhopalosiphi reared on M dirhodum, and removed from the mummy before emergence, showed a preference for the odour of a different wheat cultivar if they had contacted a mummy from that cultivar, and similar results were obtained with A. colemani naturally emerged from M. persicae mummies. Aphidius colemani emerged from mummies oil one crucifer were allowed to contact in sequence (for 45 min each) mummies from two different crucifers. The mumber of attacks made in 10 min oil M. persicae was always significantly higher when aphids were feeding oil the same plant as the origin of the last MUMMY offered, or oil the second plant if aphids feeding on the third plant were not included. Chilling emerged A. colemani for 24 h at 5 degrees C appeared to erase the imprint of secondary plant chemistry, and they no longer showed host plant odour preferences in the olfactometer. When the parasitoids were chilled after three Successive mummy experiences, memory of the last experience appeared at least temporarily erased and preference was then shown for the chemistry of the second experience.