Material
Sheep bone, plastic
Information
This work and others using colored plastic are a response to St Josts' Leprosy Chapel in Trier, Germany. There has been a chapel on site since the 13th Century, but the current one has stood since 1695. The money for the chapel was raised by two virgin maidens who have memorial slabs in front of the altar. There are paintings, statues, objects and stained glass, but the most precious items are bone relics. They are stored in wooden jars with windows of speculation, shaped in the gesture of Latin benediction. This work is influenced by stained glass, troubled bones, contamination and female labour reminiscent of bees.
Dimensions
H12cm x W7cm x D4cm
Material
Sea-washed bone, lead, flame
Information
Plumbum known as lead is allotted Nº82 in the Periodic Table. The amount of lead in the universe is gradually increasing as most heavier atoms which by nature are unstable decay into lead. The abundance of lead in the Solar System since its formation 4.5 billion years ago has increased by about 0.75%.
Sun, solar system, fire and ashes...flamed lead, my father's charring, my father's ashes. He was 82 years old. His loss weighs like lead.
Dimensions
L12cm x W2cm x D1.5cm
Material
Sea-washed bone and sea-washed memory
Information
Things washed by the sea hold the memory of the moon as planetary forces set the tides that shift and carry. Though they are picked clean and sun-bleached they hold the memory of their origin and ends. Over time they become smoother and calmer with blunted edges. The memory of the photograph is also softened, becoming mellow and vacated. The content is muted – shades of grey in chemical emulsions are quiet yet busy trying to find form as they rise and fade through light’s application. The framing is bold with borders and bone in bright tone. Border-bone — rigid, skeletal supporting the image, part of the image, holding the flesh of the image. Bone-border— dislocated, slipped and warped, a fracture of an intervention, a stitch across horizontal planes, positioned as if a cradle, a bough, a security.
The sea-washed memory is somewhere in England, whilst the sea-washed bone is from the Norwegian Sea around Lofoten, within the Arctic Circle. This is the unseen-between of balancing ecologies and personal strata, allowing work to vibrate.
Photograph: Kodak VELOX paper. This type of paper was invented by Leo Baekeland in 1893 and later sold to Kodak. It was used to make contact prints where a negative is placed on paper and exposed to light. The paper was produced until approximately 1963 — the year my mother left. Though explosive and brutal, her absence initiated a fading-out process that in bodily experience I can only describe as emulsive, where the image disappears from view into sequestered flesh, whilst the chemical layers retain unstable qualities.
Bone: Unknown, non-human origin; Norway. Over an unknown amount of time, tides and sun, the qualities of the bone come closer to unglazed porcelain. Bone without a film. Bone China. Bone ash. Bone to ashes. A father I will scatter along a grainy, sea fret softened coastline of England.
Dimensions
H13cm x W9cm x D1cm
Material
Sheep bone with Half-Free Morel fungus
Information
Ephemeral sculpture exploring the poetics between a divided bone and a dissected and knotted Half-Free Morel. Divisions and halves place mathematical relationships in the realm of the philosophical. If one is divided, is one only half -free? Slow changes accompany unknown life spans.
Dimensions
19cm x 2.5cm x 4cm
Photo © Traci Kelly
Material
Sheep bone with Half-Free Morel fungus, 7 days
Information
Ephemeral sculpture
Material
Bone, matchsticks, oxygen, friction.
Material
Bone, matchsticks, oxygen, friction.
Information
In process
Material
Bone, matchsticks, oxygen, friction.
Information
In process
Material
Bone, matchsticks, oxygen, friction.
Information
In process
Material
Bone, matchsticks, oxygen, friction.
Information
In process
Material
Sheep bone with catgut stitch from WW1 supplies and acrylic paint
Information
Bodily processes of expenditure, memorialisation and the poetics of materials.
Dimensions
17.5cm x 3cm x 4cm
Material
2 x bovine bones with gold-toned map pins.
Information
Bodily processes of expenditure, memorialisation and the poetics of materials.
Dimensions
Top: 4.5cm x 6.5cm x 1.3cm
Bottom: 5.7cm x 7.3cm x 3.2cm
Material
Bovine bones with catgut stitch from WWI supplies and beeswax
Information
Bodily processes of expenditure, memorialisation and the poetics of materials. Bodily productions in different species, polis as an apian repair substance.
Dimensions
3.5cm x 8.5cm x 1.5cm
Materials
Sheep bone, black thread
Information
Bodily processes of expenditure and the poetics of materials.
Dimensions
20cm x 18cm x 3cm
Materials
Ephemeral sculpture. Silicone, sea-washed bone, rubber band, jubilee clip, talcum powder.
Information
Photographic remnant
Dimensions
Variable
Material
Cuttlebone with metal grip, acupuncture needles, black thread
Information
Bodily processes and remnants and the poetics of materials.
The cuttle fish has blood with a high copper content and has three hearts to process oxygen. The acupuncture pins also have copper heads.
Dimensions
5.5cm x 6.5cm x 8cm
Materials
Proud: Cuttlebone, bovine bone syphon, imitation gold leaf with copper content
Dimensions
11cm x 5.5cm x 4.5cm
Materials
Fortified: Cuttlebone with metal grip, milk tooth
Dimensions
14cm x 6.3cm x 2.2cm
Materials
Well: Cuttlebone with metal grip, gouge and ink
Dimensions
15.5cm x 5cm x 2cm
Material
Bovine bone, rubber thimbles
Information
Bodily processes of harbouring and colonising and the poetics of materials.
Dimensions
5cm x 6cm x 1.7cm
Material
Bone china, bovine collagen
Information
The poetics of materials. Bovine bone content in bone china and collagen derived from skin cells scraped from the back of cowhide.
Dimensions
7.7cm x 12.5cm x 9cm