Fragments and Latex – Part 3

Wanting to continue on from my previous experimentations in Fragments and Latex – Part 1 – Objects and Fragments and Latex – Part 2 – Prints and Rusting Objects I decided to further this work by using the latex to lift the rust from the objects and produce a more cohesive piece of work.

Although this line of enquiry has been looking at lots of fragmented objects, they all have a commonality about them in the fact that they are objects that evoke a memory of a past (home, life, experience, situation).

I laid out my objects on a piece of glass from an old glass table and then began pouring the latest. At this point I had no idea even if the pouring method I was using would be successful in this instance.

Once the first pouring had dried (left for roughly 24 hours) I then began to brush additional layers onto the objects which at this point were securely in place.

I then created a fabric layer in the piece to provide structure and applied an additional two coats of latex (in total one poured layer and four painted layers).


Finally after a whole weekend of pouring an layering I decided then to dig the objects out from the constructed piece.

Finally revealing the final object.



The act of pouring the latex onto the glass worked very successfully, however it was really difficult to dig out the objects – with perseverance though this did work well. What was really good about this digging away at the objects was the fact that in reality when I first found the objects they were sunk into the mud of the reservoir base and some had to be dug out when I first found the objects.

I really like the effect made when the rust is held into the latex and this gives an imprint of the physical essence of the objects having been rusting away under water for many many years.

The Wildling – Part 3

And so the making begins – armed with gaffa tape, Kitchen roll and cotton wool I begin by focussing on the gloves planned in The Wildling – Part 1

Wrapping the cotton wool in Kitchen roll and gaffa tape was a surprisingly quick and relaxing process.


The Wildling – Part 1

After my tutorial with Jonathan I felt really inspired to put some thought into making my wildling (tree stump) costume to be used in video footage.

I have two main ideas in terms of the footage:

  1. Shooting the footage on site including using drone footage (drone now purchased)
  2. Using a green screen and applying the new footage over existing footage – considering purchasing my own green screen materials given lack of local studios with this facility.

Either way before any of that can happen I need to have a Wildling costume.

I spent some time researching how people structure Comic-Con outfits, particularly as I had in my minds eye what I wanted to make and how I wanted it to look.

I knew I needed to use latex but didn’t really know how I was going to structure the roots of the costume.

To pull it all together I decided that the willing volunteer will need to wear a morph suit – either black for on site shooting or green for studio shoot.

So here I am with an idea for a latex suit – to make it easier I plan to make a mask, headwear – shoulder wear and gloves.

To give an authentic impression of the wildlings at Thruscross I plan to cast from bark – I’m lucky enough to have some amazing bark in my garden to cast from – and I intend to colour the latex dark brown.

  • Shoulder-wear: The shoulder-wear is going to be supported by a black vinyl waistcoat with oddly spaced roots around the shoulders. For each root I will use cotton wool at the core wrapped in kitchen towel and the gaffa tape before finally using latex to add the finishing touches.
  • Gloves: I have purchased some rubber gloves which I intend to make three roots per hand from using the same technique as the shoulder-wear.
  • Head-wear: I intend to sculpt a head piece casting the bark master in the garden before creating the latex copy. I intend to strengthen the latex with a wire mesh and mould the head piece so it blends with the shoulders.
  • Mask: This is currently a maybe as I’m not entirely sure it’s required.


This is my current stage of thinking and I am sure as this progresses, my opinion will change. I think I’ve spent enough time thinking it through and feel its now time to put my thoughts into action.

It’s not often I actually draw anything any more so I really enjoyed sketching my plans for this. It reminded me that as a child I was always drawing designs for costumes so this is definitely something that has stayed with me through my life.

Rusting Objects

Having found several fragmented objects on my site visits I have been collecting lots of rusting household remnants such as hinges bolts and nails. All things that are akin to those objects I found. below is an example of the current state of the objects and what I hope to achieve.

I have rusted items quickly in the past with a view of making rust prints and I’m keen to use latex to acquire the rust from the objects.

So I sought out a solution called Rusty 3000 (I’m no chemist so this is probably the extent of my chemical experimentation) 16 oz of Hydrogen Peroxide, 2 oz of White Vinegar and a tablespoon of salt. Highly corrosive so rubber gloves were used.

I’ve made two solution baths and placed a door handle in a jam jar.

Below are photos from within the first few minutes.

I removed the door knob from the jam jar so not sure how effective this will be for the door knob in the long run.

After 1 day:

After 2 days:

Leaving it now for a week to let it cook.

Meanwhile I decided to take advantage of the rusty froth and make some prints too.


This was a really successful exercise – the liquid was very caustic so I had to be extra careful and this scared me a little bit, however the end results were really good.

I learned that not everything rusts as well and additional things on the surface of the metal can hinder the process – paint for example.

I really liked the bit of video I recorded where I could see the interaction of the liquid with the object and definitely plan to investigate this further.

The greatest challenge would have to be not getting burned – I’m really clumsy at the best of times and working with a caustic liquid was difficult for me.



Unit 1 Project Proposal – Draft 2

Working Title

Investigate the analogies found in the landscape that can reflect issues of collective and personal memory displacement and loss reflected in the surrounding environment.

  • Is the influence of man in the landscape an analogy for the social issue of displacement and loss on a personal level?
  • Do the effects of dereliction and abandonment in the landscape reflect the inner experience where memories become lost or faded over time?
  • Do changes in the landscape provide an analogy for changes in memory?
  • Do things such as location smell, sound, objects help us to remember?


  • Research theories that relate to memory and art that can be utilized for inspiration.
  • Develop a body of work that considers memory/ remembrance and film/video
  • Explore the connection between contemporary art, memory/ remembrance and film/video.
  • Consider my own personal relationship with aging, remembrance and memory loss.
  • Investigate the Generation effect as a concept for reflection, remembrance and memory loss.


  • Reflect and respond to inspiration derived from research of contemporary artwork relating to memory and remembrance.
  • Research and investigate artworks created to represent remembrance that deal with memory loss and distortion, including film and video.
  • Refine and improve video, audio and photography production and digital editing skills to develop projection/installation knowledge further.
  • Develop an experimental body of work that reflects upon the issue of displacement and the effects of distortion/loss of memory through time and life factors.
  • Experiment with photography and video to create digital and photographic material that can be utilized as part of the larger body of work.
  • Consider favoured techniques and processes to further refine and understand relationship with these materials.
  • Reflect upon memory triggers, introducing the theory that sights, sounds and smells can trigger a memory long since forgotten. Expand on these ideas by considering Binaural Audio, Binaural Beats and Autonomous Sensory Meridian Response (ASMR).
  • Develop experimental artwork that considers the Generation effect, the theory that it is easier to remember information recalled from your own mind than it is to remember information read.


Who are the key artists/designers/writers or other creative individuals related to your project?

Initially I intend to reflect upon the artist Christian Boltanski. Areas of interest apparent in the work of Christian Boltanksi are Life, Death and Memory with much of his work focusing on the Holocaust and blurring the boundaries between fiction and truth. Initial Pieces of interest are La traversée de la vie (The Crossing of Life), 2015, Départ (Departure), 2015, Animitas (Blanc), 2017, Arrivée (Arrival), 2015 and La Bibliothèque des coeurs (The library of hearts). I intend to reflect further upon parallels between Boltanski and my previous work. Boltanski produces work that documents historical events; he focuses on abandonment or past tragedies that bring awareness to the divide between human documentation and historical facts. These somewhat forgotten events help us to reflect on the present and becomes a method of unification for the audience, so that we can witness social change on a broader level.

I am interested in the artist Rachel Whiteread because of the way that her work elicits memory for the audience by casting the spaces around everyday objects she suggests the space that has existed around things. She explores not only memory but loss and remembrance too, remembering our history and noting the relevance that our history still has in our modern world. Her work brings about many references to our history (cultural, social, industrial and political) and helps us to understand this through our own perceptions and in relation to our place in our community. Particular pieces of interest are House, Ghost and Tree of Life.

Lesser-known artists are Shona Illingworth, Debbie Smyth and Briony McDonaugh. Shona Illingworth and her piece Lesions in the Landscape focuses on the artists’ own experience of amnesia and the comparison with the landscape of her homeland, St Kilda. Debbie Smyth, a textile artist known for her large scale 2D and 3D pieces using thread as a drawing medium.

Further reflecting on previous inquiry of the following artists: John Akomfrah, Lamia Joreige, Mona Hatoum, El Anatsui, Anselm Kiefer, Joseph Beuys and Louise Bourgeois.

What are the key ideas or developments that are central to your area of interest?

My aim is to continue with a previous line of inquiry into issues that relate to displacement. In reflecting further on the current work to date, I hope to delve deeper into the context of historical factual research and the human memories that alter over time.

The need for a sense of belonging and identity is inherent in all of providing security in knowing who we are and where we came from. As we grow the landscape around us changes, our impression of such and our memories also become fuzzy and unclear. Significantly, governments can influence massive change in an environment using parliamentary bills. In their wake, landscapes destroyed for the greater good and all that remains are clues that allude to the environment that once was. The way that we view and interpret the landscape and environment around us can provide us with a metaphor that represents our identity and the loss of associated memories through the passing of time and changes made in the name of progress. Our understanding of the history of the land that we inhabit also affects our interpretation of our environment.


How will you go about researching your question?

Digital Media is a constantly expanding industry sector that provides an effective method for visual communication used to represent the experience of collective and personal memory and associated loss and displacement seen in the landscape through observation and recording. Observation and recording can show the beauty in what remains and the strength and courage to go on with our lives that exists in all of us in our human experience. Using Digital Media can also help to bring historical archive material into the awareness of the here and now. Archive material is often long lost and forgotten – yet it provides us with an important point of reference to reflect against in our current environment.

What means will you use – interviewing, visiting particular collections, processes or production for making.

Completion of archival research using a variety of methods. Initially, using the internet to identify exactly where statistical information that relates to historical events. I may also attempt to contact community groups of survivors in the hope that I may gather information on the human experience of such events and the essence of human memory now. I would hope also to gather some photographic material with the survivors that I potentially may use. I will also be to produce a Facebook page where I can begin to solicit responses from women on social media. The Facebook page will also form an ideal tool to share findings that occur during the lifetime of the project. Where possible I intend to visit sites of these historical events again in the hope of gathering further photographic and video evidence.


Are there any particular resources or equipment that you plan to use?

My hope is to experiment a lot throughout the duration of this course. As an artist at an early stage in my career, I have the opportunity to build on a more cohesive contextual artistic practice. My experimentation will extend to but is not limited to – modifying archive photographs with Photoshop and Premiere Pro, printing outcomes onto different fabrics for display, re-introducing stitch into my artistic practice – integrating methods with other artistic techniques.

Experimentation with photography, distortion, assemblage, fabric, stitch, latex, plaster, found objects, video and sound bringing together what I perceive to be the best of my previous work so that I can move forward with my technique and process.

I am also considering recording any visual findings using both a Polaroid and a modern digital camera. Using the Polaroid camera will provide me with a means to produce a seemingly archival record of my findings. The material recorded with the digital camera will provide me with the means to harness modern technology to work with the imagery in a more up to date manner. I intend to record video for a potential exhibit using projection.

How will you gain access to this equipment?

I already own a modern digital camera and a portable projector. I plan to purchase an original refurbished Polaroid camera from the Impossible Project. This organisation acquired the last Polaroid factory after cessation of production in 2008. They continue to produce Polaroid film and cameras.

A recent visit to the Liverpool Biennial has sparked an interest in ASMR (Autonomous sensory meridian response) sound recording and I hope to experiment further in the area of sound. For recording and playback, I am currently investigating required technology and cost of purchase.

I intend to rent shop space locally on a short-term basis whenever I am ready to test work in an installation environment.


Potential Outcomes are as follows:

  • Collection of assemblage work involving digitally printed fabric, stitch and distorted photographs
  • Possible Collection of Polaroid Photography linking to the assemblage work
  • Installation that incorporates, video projection with binaural sound piece(s)

Work Plan

Navigate to the working document for the Work Schedule using the link below:


Aranda, J. (2010). E-flux journal: What Is Contemporary Art?. New York: Sternberg Pr.

Berberich, C., Campbell, N. and Hudson, R. (2016). Affective landscapes in literature, art and everyday life. London: Routledge.

Couldry, N. (2013). Media, Society, World. New York, NY: John Wiley & Sons.

Gibbons, J. (2015). Contemporary Art and Memory. London: I.B. Tauris.


Manovich, L. (2010). The language of new media. Cambridge, Mass: MIT Press.

Munteán, L., Plate, L. and Smelik, A. (2016). Materializing memory in art and popular culture. Taylor and Francis.

Pollock, R. (2013). Discovering Rachel Whiteread’s Memorial Process: The Development of the Artist’s Public and Memorial Sculpture from House to Tree of Life. Undergraduate. Brandeis University.

Quigley, T. (2010). Memory, Temporality, and Loss: Rachel Whiteread.

Saltzman, L. (2006). Making memory matter. Chicago, Ill: University of Chicago Press.

Solnit, R. (2017). A field guide to getting lost. Edinburgh: Canongate Books.

Svasek, M. (2014). Forced Displacement, Suffering and the Aesthetics of Loss. Open Arts Journal

Taylor, K. (2009). Cultural Landscapes and Asia: Reconciling International and Southeast Asian Regional Values. Landscape Research.

Turkle, S. (2011). Evocative objects. Cambridge, Mass.: MIT Press.

Site Visits – Tryweryn

Reconnecting with the space at Tryweryn was always going to be an interesting time. Although I have visited this location many times already to take site photography, each time has been different and we have found more signs of the history of the location.

This time was no exception, the water level being extremely low has exposed much more along the shoreline and new perspectives were gained from visiting the site and being able to walk where we had been uable to previously – below the previous water line.

Our first stop was to visit the beach where we first took photographs, the water line had dropped roughly 50 feet or more and it was very eerie walking across the rocks that had previously been underwater.

We walked across the dam to the other side where we were able to walk below the overflow for the reservoir, along the shoreline there were signs of a previous life with what looked like farmers fencing drifting off into the water – previously we had not been able to see this.

At the top end of the reservoir nature had begun to reclaim the land, unlike Thruscross which was very sparse and muddy, vegitation had begun to grow on the land below the waterline near to the church at Tryweryn. The water line was so low that what I believe to be remain of a bridge was somewhat visible though not quite as much as pictures I had seen when the water level dropped in the drought of 1996.

At Thruscross it was very clear that deforestation had taken place to make way for the reservoir, yet at Tryweryn there were only a few trees that had been cut down leaving the tree stumps to remain underwater, only to become visible when the water line dropped.

What was very noticable at both Thruscross and Tryweryn was the absense of wildlife below the water line, almost like the creatures of the area knew to stay away



Tutorial – 02/11/18

Today’s Tutorial with Jonathan has been really useful as to date I have been going through quite a lot of confusion with regards to my way forward and my Project Proposal.

I began by explaining to Jonathan the point where I’m at now. Prior to starting the MA I had been intent on my project being based upon Women in Work and I originally wrote a proposal for this as a theme. However in one of the recent group chats Jonathan had asked me if I always worked to a theme and this raised for me the fact that I wasn’t entirely comfortable with the Women in Work theme I was planning.

I decided to take time to reflect on my work over the last two years in particular and review my motivations for creating the work that I had to date. See UAL First Year Symposium for an overview of my work to date.

In short I had been focussing on the Social Political elements of particular historical incidents that had occurred locally that I felt I was not yet finished with and that I had only just scratched the surface of. My final piece of my degree, about Tryweryn had been the most potent for me personally and had affected me on a very deep level. Through my reflection I began to realise that the subconscious connecting theme throughout my work was about memory both cultural and personal, historical yet up to date and that in my photographs I had been attempting to show unearthed memories in the landscape. I created the following mind map to try and make sense of my much confused thinking.

We then discussed my perception that I have yet to develop my own particular artistic style and whether in fact this is important at all. From our discussion about this it became apparent that perhaps the important thing is the motivation/trigger that stimulates the artistic process. For some this might be using specific materials that the art then flows from the act of using those materials.

For me, I feel an empathic connection to a situation or event that I need to make art about. I then research the subject and decide on what materials would be appropriate for each project.

Perhaps I was looking for some clarity in my work that I had not yet seen. After my discussion with Jonathan I can now see that there is a clarity in my process and that is enough, that a particular artistic style is not always necessary and has been a distraction to me. I already know I’m a maker and that I see the digital realm as an extension of any work that I make and now I’m more aware that I do have a clear process – even if I couldn’t see it until now.

Whilst we were talking about motivation, it also became apparent that to be able to visit a location or site that relates to the work I am making is very important to me – being able to sense the physicality of the landscape and the emotion and feeling of the events that have gone before.

Moving on to the subject of memory we discussed my proposed artists that I am considering for contextual reference; Christian Boltanski, Rachel Whiteread in particular, and also Anselm Kiefer, Mona Hatoum, Joseph Beuys and Louise Bourgeois. We also discussed triggers of memory such as smell, location and sounds that often pull back memories that had been long forgotton. Jonathan mentioned the piece Keicheyuhea (2017) by the artist Aslan Gaisumov on display at St Georges Hall for the Liverpool Biennale 2018 and her rememberance of a life gone by brought about by the sight of her homeland.

We then spoke about my intention to bring my more successful elements of my practice forward to help me with my project enquiry. These would be introducting stitch and photography, akin to the piece I produced for the Elfennau Exhibition – Galeri Caernarfon from my previous degree.

I also mentioned the use of sound that I am going to experiment with having been expoosed to Autonomous sensory meridian response (ASMR) sound recordings at the Liverpool Biennale 2018. ASMR recording is used for the hidden sounds of everyday life that often go unnoticed, for example whispering and the flicking of a piece of paper.

I feel using these sounds with the site specific experimentation that I intend to do will potentially provide me with a method to invoke feeling or emotion, not just through the visual communication but through an auditory method also. I definitely am keen on the idea of producing multi sensory work and my experimentation will include elements of this too.

Along with ASMR sound recording Jonathan mentioned Binaural sound recording and Directional sound recording and I plan to research these further so that I can experiment with them.

Very happy with today’s tutorial – positive and excited and now ready to begin experiementing.