On spine(2011)
mixed media, stand 3m , spine 1.6m

 

 

 

 

Much of my work has been influenced by an obsession with objects, substances or sensations that have the ability to disappear, to be transient or ephemeral, or are otherwise located at the limen of our perceptual capacities. These limina are the vague periphery of what is concrete and knowable, and I believe that they should be considered, therefore, to be revealing things we cannot sense, and to delimit an increasing area of potentiality.

With these considerations in mind I have been working with vulnerable, weak and very simple materials. The fragility of these materials does not merely point to the difficulty of preservation, but represent the limina that we are surrounded by. The surfaces are vague and delicate, and for this reason cannot support themselves as a structure.

Below the semi-tangible boundaries lie the things that are hidden by it. There must be something that provides form. For my work the occasions of recognisably similar structures on small and large scales has the function of suggestion and extrapolation. Under the skin the nervous system, for example, appears botanical in structure as it grows from the spine, which itself looks like a caterpillar or larvae. These textures are functional but invisible. Furthermore, the simple, dead shape of the spine still conveys the potentiality of movement, the possibility of reaching.

The procedure for this sculpture consists in a repetitive performance. The glue, exposed to air, transforms into thousands of tiny threads that are built up into layers of delicate gauze. Its immediate connotations are taxidermal. Rather than replacing the insides, however, the process meant an existing structure could give shape and form to its new translucent covering. The uneven shape and surface of the frame provides mass and absences to be enclosed as one.

My work is also concerned with how communication occurs. The specifically non-verbal nature of the field of visual art has its corollary in created audible forms. The development of this piece is a study of where these languages may intersect. The fine texture on its surface, for example, is the result of an extensively repetitive series of hand gestures, which became inseparable from the associated audible signature. This signature remains as the history of its manufacture.

The layer that the form wears persists in echoing the liminality of meaning and interpretation within created visual and audible forms.
 

 

 
       

Spine Project from gemini kim on Vimeo.