Studio Work
Glacial Plastic
In 'Glacial Plastic', I wanted to respond to the growing amount of plastic being dumped in oceans and affecting our landscapes, particularly in the artic. In this piece, I used a range of materials, including plastic water bottles and coloured water to explore the contrast between the organic shapes of landscape to the un-natural shapes and textures of plastic. Using spray paint and mirror tiles, I wanted to remind the audience of common photographs of glaciers, using their colours and depth to further embrace the natural in the un-natural.
'Glacial Plastic', November 2021, plastic water bottles, water, mirror tiles, plastic packaging, spray paint, glue. 1.5m x 1m x 0.75m.
'Glacial Plastic', November 2021, plastic bottles, water, mirror tiles, plastic packaging, spray paint, glue. 1.5m x 1m x 0.75m. Detail and exhibition shots.
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Sustainability and Materials: How to source responsibly?
As my work uses single-use plastics that would otherwise go to landfill, it is important to not add to the demand for single-use plastics. As such, my work only contained materials donated to me and did not create a demand for buying plastic. Similarly, I attempted to reuse plastic in my own work to not reduce their recyclability.
Glacial Sustainability
'Glacial Sustainability' is a video documentary of how I recycled and prepared the plastic used in 'Glacial Plastic' for future use. This piece explored the materiality of both paint and plastic, through the vivid, scraping sounds that result from the cleaning process.
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This physical recording of sounds allows for the visceral cleaning procedures needed for recycling to be highlighted, and emphasises the work's unnatural materiality.
'Glacial Sustainability', January 2022, YouTube Video piece, 8:33
Theft By Finding
'Theft By Finding' was created as a result of a group collaboration in which I used the Qlone app to 3D scan a piece of 'Glacial Plastic'. The use of 3D scanning allowed for exploration of materiality via a different medium, and created complex distortions. By engaging with such materials in a sensory experience, I created a piece in which the plastic, ice-like bottles come alive and sentient. Much like the organic materials this work mimics, the piece explores growing and shrinking of the material, and the effects thereof.
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Enclosed
In this sculptural sound piece, entitled 'Enclosed', I have created a monolith-like structure out of found materials. In doing so, I wanted to create an experience in which the audience are able to create and engage in a sound piece whilst being enclosed in the materials.
In this piece I experimented with combining and staging a sound piece in a studio space, however, I found the white cube studio space counter-intuitive and believe the work to be more effective if staged outside.
Responses to Enclosed
Unravel
In 'Unravel', I have filmed the process of unwrapping the hoola hoop used in 'Enclosed'. This video piece allowed for an exploration of materiality and the sounds associated with destroying a plastic object, in an act of documented process art. By mirroring the video, the piece takes on an almost dream-like quality, as the viewer becomes disconnected from the experience.
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Further Preservation
Continuing my engagement with the materiality and physicality of plastic, I chose to experiment with plaster to emphasise the physical differences between a harsh man-made plastic with a more natural, refined plaster. The almost sculptural piece were documented outside to further contrast the materiality with the natural environment.
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'Responses to Enclosed' sound piece, February 2022, SoundCloud,1:31.
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'Theft by Finding', January 2022, YouTube Video piece, 2:24-3:19.
'Theft by Finding', January 2022, YouTube Video still.
'Unravel', January 2022, YouTube Video piece, 5:04.
'Theft by Finding', January 2022, YouTube Video stills.
'Enclosed' exhibition and detail shots, January 2022, plastic hoola hoop, found plastics, headphones, fishing wire. 2m x 1m x 0.75m.
'Enclosed' sound piece, January 2022, SoundCloud,1:21.
'Unravel' still, January 2022, YouTube Video piece, 5:04.
As a result of the sound exploration in 'Enclosed', I chose to gather participant information to understand how plastic materiality sounds made an audience feel. To do so, I asked participants to respond to the following questions:
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1) What is it you are hearing? Asking this question encourages listeners to explore the components of the sound, and gradually eases them into more artistic listening.
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2) What does the sound actually sound like? This question encourages participants to engage with the quality of the sound and explore it’s more obvious components.
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3): What memories or experiences do you hear from the sound? This question allows for a deeper listening, and encourages participants to explore their own responses and engage creatively with the work
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4): How does the sound make you feel? This question allows the participant to explore their emotional response.
'Further Preservation' December 2021, plaster, plastic single-use glove.
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'Further Preservation' December 2021, plaster, plastic bag.
'Further Preservation' December 2021, plaster, plastic bag.
(Re)Cycle
'(Re)cycle', February 2022, YouTube Video stills, 2:38.
This video piece, in which an unidentified person attempts to escape through a recycling bag, is disturbing and visceral. The use of teeth and red, blood-like paint deliberately makes the viewer uncomfortable. The contrast between the clinical, still plastic and the desperate person attempting to escape furthers the contextual history, in which the working, ordinary person is battling to escape a system they had no part in. Indeed, the use of the recycling bag emphasises the hypocrisy of the working, ordinary people shouldering the majority of the climate crisis, when in reality they are hardly responsible
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'(Re)cycle', February 2022, YouTube Video piece, 2:38.
ReRe(Cycle)
ReRe(Cycle) continues themes of it's predecessor, and allows for a exploration of the hypocrisy of asking the lower classes to recycle. This piece also emphasises the ridiculously pedantic nature of corporate recycling, which is emphasised as the speaker gradually looses coherency.
'ReRe(Cycle)', March 2022, SoundCloud audio piece, 2:20.
The Big Plastic Count
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'The Big Plastic Count', 2022, <https://thebigplasticcount.com/?source=WB&subsource=OCPOPSOAWB02V5> [Accessed 24th March 2022]
Planet Plastica: A Domestic Exhibition
'Planet Plastica: A Domestic Exhibition' allowed for exploration of an exhibition in a domestic, outdoor space. 'Planet Plastica' depicted an environment in which only man-made, plastic monoliths remain, in contrast to the natural environment. This exhibition encouraged visitors to donate a single piece of used plastic to enter, allowing for my collection of single-use plastics to expand. Ultimately, each donation was tallied for the visitors to view at the end.
'Planet Plastica: A Domestic Exhibition placard', March 2022, cardboard, paper, metal.
The Big Plastic Count aimed to 'show the government it’s time to commit: reduce single plastic use by 50% by 2025 by switching to reusable options that work for everyone – and ban sending our waste to other countries'.[1] As such, the movement encourages household to count their plastic usage over the course of a week. I was immediately inspired by this idea, and began to count the plastics I had collected as a result of my exploration into the material. This movement later led to the inspiration behind 'Countdown to Planet Plastica', as well as greater sustainability on my behalf as I took greater care sourcing my materials.
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[1] GreenPeace, ‘The Big Plastic Count’, 2022, https://thebigplasticcount.com/ [Accessed 10th April 2022].
'Planet Plastica: A Domestic Exhibition total tally', March 2022, cardboard, paper, metal.
'Planet Plastica: A Domestic Exhibition placard and donations', March 2022, cardboard, paper, metal.
Hanging Baggage
Plastic count: 6 pieces
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Continuing ideas of monolith and obelisk like structures, 'Hanging Baggage' uses sown together plastic bags to create an imposing, colossal structure that dominates the audience eye-line. In doing so, 'Hanging Baggage emphasises the inherent inescapability of our planets future, in which only plastic remains.
'Hanging Baggage', March 2022, 213 x 74cm, plastic bags, string, bamboo, plants.
Nature: Hang on in There!
Plastic count: 32 pieces
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'Nature: Hang on in There', is a more comedic take to issues regarding plastic pollution. Similarly to 'Hanging Baggage', this piece also embodies ideas of monolith and monumental structures. This piece uses found hangers to create a see-through, less claustrophobic and intimidating piece. However, the sharp edges and unnatural, jagged lines continue to demonstrate the harsh materiality of man-made plastic.​
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'Nature: Hang on in there!', March 2022, 108 x 75 x 60cm, plastic hangers, glue
'Nature: Hang on in there!', March 2022, 108 x 75 x 60cm, plastic hangers, glue
Final Exhibition: Countdown to Planet Plastica!
'Countdown!', May 2022, Video piece, 16:28
Combining sculptural, sound and video, 'Countdown to Planet Plastica' will embody my the overarching theme of my work- that over-consumption of plastic materials will lead to a completely different world. 'Planet Plastica' will embody a world free from natural resources, where only plastic remains. Using plastic bottles, the work will mimic monuments made from traditional stone and natural building materials, in an overarching, circular shape. This circular shape will create an intimacy and claustrophobia to the work.
Each plastic bottle will be numbered, to reflect both the amount I have used throughout the year in collaboration with the Big Plastic Count, and as a reminder of the countdown. This counting motif will be featured throughout, in both the sound and video piece. By including numbers, I hope to encourage a sense of urgency in the viewer and encourage thoughts on environmental degradation and plastic pollution, as well as encouraging engagement with the materiality.
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This engagement with materiality will also be created through the use of sound and video. The sounpiece will consist of headphones and an MP3 player in the centre of the circle, for maximum intimacy. The sound piece will also feature a countdown, as well as a variety of captured plastic sound. This combinatin will further encourage engagement with materiality by the listener.
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Lastly, the piece will include two videos, each featuring 3D scans of everyday plastic objects. This is to demonstrate the common desensitisation towards daily plastic use in an almost clinical setting. The two videos will feature one fast countdown, whilst the other documents the number of plastics used in the exhibition piece. As such, the conflicting numbers should confuse and engage the audience.