Through installation, expanded sculpture, photography and film, I use temporary, ephemeral and provisional interruptions, to locate, re-locate and re-contextualise territory referencing what has been, what is or what could be, the past, the present and the future and where it intersects with the human relationship. My aims are for an experimental approach that engages with the viewer and to continue developing the critical thinking that connects practice and theory.
The work is the result of sustained enquiry into the nature of space that draws on a wide-ranging theoretical discourse. I am trying to create a dialogue between space and place using interventions and interruptions as part of a site-specificity that explores in-between spaces, inside and outside, nowhere and somewhere. The notion of absence, as possibility rather than lack, is an underlying theme within the concepts of territory, whether historical, political, geographical, cultural, and how it is colonized, altered, used and navigated and, relating to this, place and placelessness.
My methodology is observation and reflection, not only how place looks but how it feels, sounds and even smells. I document through drawing, text, photography and film that becomes the basis for studio development. From here, exhibition material is gathered and tested both in conventional and unconventional spaces. However, the ‘cultures of display’ are important. Viewer engagement is often necessary to complete the work. I would locate my practice close to the Altermodern which is, as Bourriard says ‘read as a hypertext; artists translate and transcode information from one format to another, and wander in geography as well as in history’ (Tate Triennial Exhibition, 2008).
Much of my recent work has taken the form of ambiguous structures that draw their inspiration from temporary and often ephemeral constructions that were briefly glimpsed from public transport creating impressions but no hint of function or process of construction during a journey following the Mekong River from close to China down to the Cambodian border alternating between the countries of Thailand and Laos. This has been part of a two year long project which has taken many different forms and materials but has eventually returned to bamboo, the original material. The ambiguity and flux within the most recent work reflects similar fluxes within border zones. However, I now feel that this project is coming to an end and new work is developing using different approaches to place and placelessness that includes engaging with scientific ideas such as particles and a work that encompasses contemporary social and cultural phenomena.
Chris Wright 07715 175249 email@example.com