Link to Work on Vimeo

this June 2020. It is believed that Colton traded and enslaved Africans. Until 2020, however, his monument was displayed in public space in Bristol and represented him as important figure in British history. The image of the toppling statue enjoyed a high media coverage. But beside, the power of this image, it is important to revisit national histories and to take a fresh look on the established narrations, which have to be changed and corrected for a better and juster future. Relevant article: <https://www.theguardian.com/culture/2020/jun/11/statue-topplers-jake-chapmantracey-emin-anish-kapoor-edward-colston-bristol>

Finally, why have I chosen a white gallery space? Why have I chosen to place the sculpture on the floor? The space of the gallery acts as a blank canvas. I have been thinking deeply of placing my sculpture in the outdoors, in a public space. Yet through experimentations of previous sculptures and installations in nature and outdoors, I came to the realisation that at times the outdoor world can distract form the installation. Although this at times is useful and allows for the merging of reality and art - at this stage I have chosen to use the gallery space to emphasise the piece rather than play with the invisibility of the work through outdoor exteriors. More description of why I have chosen to create this installation as I have: the sculpture is laying on the floor- the floor is the last element of the sculpture. The floor opens a time and space which can be animate in the viewers mind. The floor opens a possibility for a second world beneath: an embedded space. The work takes over the space in which it exists- a phenomenological experience. It adds a defamiliarising function to the “normality” of the body. It becomes the portal to the dream (in: the umbilical cord of the dream). Moving on to lighting- I have chosen to use 5 small spotlights to illuminate the sculpture and writing on the walls. I did not want my work to be illuminated by one light only and I wanted there to be both an atmosphere but also, I did not want to loose the detail of the work in darkness. Overemphasis through a spotlight, I personally, feel would reduce from the piece, as parts would disappear, go invisible in the darkness. The space is open- there is no formation for entering or exiting the space. This allows for a more open access- openit again refers to the narrative of my hopes to leave my work open for interpretation and ambiguous. An invitation to hallucinate, an adventure of thought.

I hope the ambiguity of the piece leaves each of us open to interpret the installation in a unique way.

2. A consideration of any ethical concerns.

In regards to ethical concerns, no living being has been harmed during the process of making this piece. The intention in making this sculpture and installation is to open dialogue in regards to ambiguous narratives. No certain narrative is dictated to the viewer. Links can be made to death, violence and taboo subjects- however this is entirely dependant on the mindset of the individual viewing the piece. Thus, taking us back to part 1, the description of this installation, and how the work acts as a mirror for the individual experiencing and viewing the piece. The work holds graphic visual components such as the human body and rope. Some viewers may find such components to be disturbing, which could be signposted if so desired by the gallery.