Lorraine Snape

Challenging the notions of the biennale and art fair forms, we presented our International Festival, Bureau de Change and took the themes of Borderless and Play as our inspiration.

Our group decided to curate a cosy, homely room filled with familiar objects and games from our respective cultures.

hook-a-duck

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With a firm nod to the traditional ‘Hook-a-Duck’ typically found at village fetes across the UK, I installed an inflatable children’s paddling pool in the centre of the room. Inside were ocean balls to mimic water and origami boats made from old encyclopedic map pages. A small child’s chair was positioned nearby and from there you could ‘fish’, like a garden gnome, using rods with magnets attached. By hooking a boat you could choose another country to freely travel to… in your mind at least.

between potential and kinetic

Also for Bureau de Change, I installed a light piece in the morgue space. A single torch suspended on a string, its beam just millimetres from the ground.

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Set in motion, the torch illuminates the luminous paint on the floor. The path of the torch, a swinging pendulum, is revealed as the paint begins to glow. The image comes slowly in and out of view, intensifying as the torch changes its’ path to produce a glowing ellipse. As the pendulum slows, it’s centre appears darker and darker, revealing an apparent void.

Positioned in an old morgue, the bar and string give an uncomfortable air of a makeshift hanging or a potential suicide. Like instability, the bar holding the string is balanced, just wedged between the walls, slightly precariously. A sharp tug on the string would bring it crashing down. 

Through motion and phosphorescence, this work references time and the speed of light. The swinging pendulum highlights wonder as it amplifies pattern and rhythm to reveal hidden geometric pathways, this extends my work in mapping residues and utilising reactive materials and introduces a reference to childhood with spirograph type patterns being revealed. 

The work is unpredictable despite the geometry. The piece is reliant on a spectator swinging the pendulum to start the motion. If one meditates on the hypnotic harmony, one might experience the appearance of a void like ellipse. However, in allowing the spectator to engage, inviting the visitor to play, chaos is introduced. The viewer can change the path of the light, they can disrupt – as an irritation, or with humour and amusement. 

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magnets and ferromagnetic elements are exploited to suspend plastics, polystyrene and acrylic tubing.

using strong neodymium “rare earth” magnets I have been arranging and hanging various items to produce sculptural forms. plastic and acrylic have been employed to disguise and disrupt the perception of magnetism associated with metal.  i have also painted polystyrene balls with magnetite powder so that they can be lifted by a magnet and add confusion over a perceived density and weight.

alongside the minimalist chrome look of stainless steel; rods, ball bearings, a plumb bob and the magnets; I have added iron filings and ferromagnetic pigment. This monochrome palette has been further compounded with black plastic cable ties and the blackest black paint. 

inadvertently, a slick visual “bachelor pad” aesthetic was created. This raised internal questions over the feel of the work. additionally I have been asking myself if I’m not just producing yet another minimalist sculpture, such as those below. 

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however, my ventures into these realms are more concerned with discovering what the materials are capable of, what are their limits; how far can I push the precariousness of suspension; how can I utilise their inherent force, their movement and magnetic push and pull to create kinetic works. I tip my hat to minimalism and forge forward. 

briefcase installation

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My mini installation contained in a briefcase and mounted within an upturned plinth was a magnetic medley comprising various elements, many suspended via rare earth magnets.

A pop-up white cube on the upper level houses an installation of micro proportions. A linen board lying on the floor, painted with magnetite, holds 6 magnets. Above this, a pair of drawing compasses is suspended, quivering as it is pulled in all directions. A mirror sits behind, but its’ angle distorts and the gaze is directed away with the reflection to the front of the cube. There, a box and a bag have magnets suspended midway up their faces, held only by the black dust within. On the walls of the cube are 2 small black paintings, revealing faint traces of their making history. On the floor of the briefcase lies a tally counter, ready for each visitor to check themselves in.

On the lower level, the installation has left the briefcase. On the wall is a tiny painting. Small black spikes protrude from a circular motif, the paint has solidified whilst seeking the magnet which helped to form it. Nearby, a dart with a black flight is suspended precariously from the fine point of its tip. It’s shadow is cast on the wall behind. Below magnetic powder is strewn on the floor, slowly creeping towards the neodymium magnet abandoned there.

On the other side of this “room” a series of magnets hang from black threads, beneath them is a network of rough shapes, shards of textured black earth, remnants from another painting; magnetic lumps that join and support each other whilst threatening to collapse at the same time.

I enjoyed the suitcase as a gallery space and an opportunity to install a micro version of what would otherwise be quite a large, complex installation. There was a freedom to explore within that format. The installation takes on a traditional white cube feel but it is subverted by using an upturned plinth. The plinth comments on the absurdity of elevating artwork to a higher level, it also creates 2 rooms, one above the other. This made me think about how a room could be changed or sectioned to incorporate different levels. Beyond the more sculptural elements hanging or displayed in the white cubes, there are items such as a tally counter, for visitors to check themselves in thus avoiding the gallery becoming overcrowded. I enjoyed playing with the ‘Alice in Wonderland’ ridiculousness of that concept in this context.