TarraWarra Biennial: Endless Circulation, TarraWarra Museum of Art, curated by Helen Hughes and Victoria Lynn, a collaboration between TarraWarra Museum of Art and Discipline magazine

My practice centres around the combined application of the literary order of words and the sculptural order of physical materials. The dialogue between these two languages is aimed to generate variations of a third language that is suspended between these two, that is distinct from those that allowed for its origination, yet which at the same time continue to support its existence. The title and material description of each work are intended to perform key roles in this process.

I am interested in the specific, optically generous and open, material capacities of sculpture; I am equally drawn to the hermetic, internally expansive, private spaces of literature. Where these two coalesce, “draw breath from each other,”1 and meet to support one and the same thing, is the space that I work in and towards from work to work.

Marcel Duchamp spoke of titles for artworks as being like an extra colour, “a colour which had not come out of the tube.”2 One could consider this ‘extra colour’ as one that, in a sense, does not exist, reflecting the nature of words, which are like forms, or colours, sealed within the inky blackness of their support, and opened within the reader’s mind.
Traditionally, sculpture was designed to rest upon a plinth. This point of contact between the two would create an area on the base of the sculpture and on the surface of the plinth of literal darkness—a black seam where light cannot enter. Long liberated from the constructs of tradition, a title could be thought of as written with the ‘black ink’ of this sealed surface of a sculpture—performing the role of a seam between the viewer and the view.

1 Linda Marie Walker, email correspondence, 2nd April, 2015.

2 “Marcel Duchamp Speaks” interview with George Heard Hamilton and Richard Hamilton, London, BBC, 1959; published in Audio Arts Magazine 2, no. 4 (1976), quoted in Thierry de Duve, Kant After Duchamp (Cambridge: MIT Press, 1996), p. 161.