ADAPTING 'SQUISHKIND' FOR ASYLUM, PECKHAM

The rustic 1836 chapel, Asylum offers a lot of historical and visual interest but is not a large exhibition space which does not particularly lend itself to the scale of the work. I think it is important, however, to adapt work to its surrounding especially as my work itself is adaptive through the abstract forms and white surface. ‘Squishkind’ consists of five large scale soft sculptures, for this London show I will be reducing it to just three (‘Spikey, ‘Flat Ring’ and one part of ‘Double Seat’) to ensure the work does not overpower the space and others work, I've got to be mindful that it is a group exhibition and for it to work the space must be used as an extension of the collective thought not just my own work placed where it might stick out (for the wrong reasons).

When first viewing the space through images the install team sent us, I want my work quite central (see first image) as when I imagine the soft-play area it would make sense to have it in a central location for ease of access and interaction. But I quickly decided against this as I think it will block others work as my work is large and it would be logistically impractical and unfair for people to have to navigate around my work/ install their own pieces It would be best if I displayed my work in a corner, so that way the sculptures are up against the wall to maximise space (see second and third image), moreover, the projection would be most successful in this kind of location because there will not be as much light and the coloured images will filter onto the wall creating an interesting contrast and micro, intimate environment for play.

The set up for my work is relatively simple, it includes three large white faux leather sculptures (size varied) and a projector on the floor using its stand to tilt it up towards the sculpture. The cable to the projector will be taped down and connected to the nearest plug socket. The sculptures, through viewer’s participants and myself, will change the formation of the sculptures daily responding to the contours of the building so it become an evolving, adaptable play space.

I think the bold, playful, and interactive nature of ‘Squishkind’ will produce an interesting aesthetic juxtaposition to the distressed Asylum.­­

'SQUISH EXPERIENCE' EMBRACING THE SQUISH, PROCESS AND REFLECTION

Erwin Wurm’s ‘One Minute Sculptures’ (1997) are a series of photographic performances made through immediate reactions to the space and objects, composing people with objects. The participant becomes a sculptural form to some extent through the adaptation of their body and how they are positioned with the object. The participant loses the self in the attempt to become equal to the object, working collaboratively to hold poses for one minute. These images present an absurdity through visually and physically intricate, humorous interactions. These were an inspiration for me to explore the object/body relationship and I decided to create a series of my own, experimenting how my body can fit into the shapes through various interactions.

Lygia Clark and Hélio Oiticica explored throughout their practices and collaborations with one another about the ideas of the immaterial experience. Even though there work often utilised the use of haptic materials and adjustable sculptures like Clark's 'Elastic Net' (1974), the emphasis was on the collective experience, not to the detriment of the individual thought but to create a platform where participants can freely engage using their bodies and mind. They, however, view objects differently to Wurm with the establishment that the object/material is secondary to the participant and only become activate through the engagement of the viewer. In these interactions, I explore this immaterial experience how through my own choices and the engagement with the sculptures I articulate my body into different positions - undirected and allowed me to explore the dynamics of movement on the precarious surfaces in a safe space. If I were to revisit this with a group of people I think it would change the dynamic, it would be able the relationship with each other as well.

I wanted‘Squishkind’ to be activated once it is interacted with through the body, going beyond the just aesthetical properties of installation and creating a link between the body, mind and object; moreover, the experience is equal to the physicality of the work. The shapes have been carefully selected to produce different experiences when interaction takes place. 'Slope' has large curves which when sat on bends the body into a precarious 'U' shape - depending on which curve it could be highly uncomfortable. 'Spikey' would almost suck in the body due to the zigzag top and became quite a humorous interaction. I spent time with the sculptures in the space and interact with the individual sculptures trying to lie, sit, stand and generally connect my body with the contours of the shapes in immediate responses. These are captured through several images that document my journey of participation, I adjusted my positioning to interact with the shapes, simultaneously the shapes squished and moved to accommodate me.

FULL SERIES - https://lucywinnicott.wixsite.com/artwork/squish-experience

'SQUISHKIND'

PROPOSAL -

For my final resolved outcome I wanted to create an immersive environment made from several soft sculptures that are be adaptable to the space and the participant. Made from white faux leather and toy stuffing, ‘Slope’, ‘Spikey’, ‘Flat Ring’ and the two parts of ‘Double Seat’ are free-standing and malleable that can hold the body but also be squished similarly to Neto’s ‘Humanoids Family’ the idea of compression with support – a humorous, yet comforting, sensory experience. Together they accumulate to a collection named ‘Squishkind’ playing on the idea that they are beings rather than purely aesthetic sculptures.

I was drawn to the modifiable dynamic of Franz West’s ‘Adaptives’ and therefore chose to make my work in several parts so that they are buildable and can connect to the rest of the sculptures as well as the body within the white cube space (which is also adaptable). Furthermore, the abstract nature of the shapes allows for difference in social interaction and ‘doubt and perplexity’ that Tim Stott expressed about the practice of Carsten Höller. In imagining the space, I was interested in the transformative nature of Pipilotti Rist’s large scale projections; my five sculptures can exist in the space as an installation akin to a soft play area but once projected on become an otherworldly multi-sensory environment. As Homan suggested in ‘Whoever cannot give, also receives nothing’, art can be transformative and because the sculptures are deliberately white means that the work can be altered to a visually striking, otherworldly space that is not necessarily of the contexts or aesthetics of the outside world.

INSTALLATION -

Once all my sculptures were complete I transported them to uni to properly document them in a white-cube space - I was going to photograph my work at home but I didn't have a space large enough with a blank walk (maybe this could have been interesting but I wanted a blank, adaptaptable space that could be transformed). This might be something to explore in future works. I began the process by simply moving the sculptures around the space, due to a heavy weight this was almost a performance in itself and I really wished I had filmed this process. I tried different combinations, playing around with how the shapes fitted in the space, created conversation with one another by the way they leaned and balanced. I really liked the white surface of the sculptures against the white cube space, they felt like extensions or beings that have emerged from the space, blurring the space in abstraction and interactive potentiality.

In further exploration of my work, I used projections as a way of flooding the space with colour and texture through photoshopped clay background I had made earlier in the year. I thought these would work well due to there sensory and playful appearance. I really enjoyed this process, it radically changed the sculptures and its surrounding environment, created this otherworld feel - a sensorial play space that transports the participant. It was interesting how the blobs and squiggles in the image hugged the shapes, responding to the angles and shape. My one problem is that I wished I had made a floor element to the work, like a large flat soft sculpture, an oversized child's play mat or crash mat. Maria Nepomuceno 'Tempo Para Respirar' (2012) utilised the floor space through hand woven rugs, layered with several abstract sculptures creating an environment with connotations of an organ system. Having the space totally covered in fabric made the work feel inviting and that it could continue on throughout the gallery, transforming space to a tactile experience. However, the floor in the studios worked well to project the images onto, morphing from the shape to the floor and wall. Theres always something to improve on and this is something I can explore in my future work, 'Squishkind' can continue to evolve through additions of sensory elements.

In reflection of 'Squishkind' (part 1 of my final piece) I am really pleased with this resolved outcome of my work. The white sculptures are adaptable through their white faux leather fabric and abstract shape, the viewer can activate the work through the positioning in the room - making new environments and dialogues, the space can never be the same twice and is constant flux. The projections can immerse the viewer in a highly saturated, immersive, sensory environment composed of sculptural beings that have autonomy. ‘Slope’, ‘Spikey’, ‘Flat Ring’ and ‘Double Seat’ form a collective to create an immersive environment akin to soft-play a soft play area or sensory room. The free-standing and malleable shapes are adaptable, hold the body and are transformed through interactivity and large scale projections.