Artist based in Hertfordshire

 

 

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Coiture de Vigne

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Wendy Creak

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Statement

 

I use digital imagery, fabric, print and heat processes to explore human interaction with place and space.  My concern is with the way that an individual processes the information received by their senses to form experiences, and how this interpretation shapes future interactions with other individuals and the wider world.  I am interested in how the ‘reality’ of an event can shift, influenced by time, perspective, and an accumulation of experiences which affect interpretations of subsequent events.  Language has a key role to play in shaping what happens to an individual, in that it can be a form of internal dialogue, a way of formulating our thoughts, conveying these ideas to others and the wider world and thereby influencing the thoughts and actions of others. ‘Our language screens the object; it’s the grid which structures our perceiving’ (Burn, Ramsden 1969).  Both language and personal life experience can create opportunities or alternatively, barriers to be negotiated.  Script and photographic imagery act together as metaphors to explore the ambiguity around real or perceived barriers and differing perspectives.  Is the barrier insurmountable and permanent, or a permeable boundary that may be breached or negotiated?  Does it function to contain and restrict, or protect?  Is it really there or merely a perception?  

Layers of imagery on translucent and structured fabric surfaces raise issues around the idea of reality and perception.  Is the image part of the fabric, part of the surrounding space, or a projection?  What is ‘there’?  What is ‘not really there’?  Images of a cage-like grid, with suggestions of open and closed doorways, passages, and views through are abstracted out and rotated to create an element of disorientation and ambiguity.  Handwritten script is fragmented to obscure its meaning.  Multiple fabric hangings, digitally printed with a combination of composite images, whole images and script, shift almost imperceptibly with the natural movement of the air, altering the relationship between the elements of the work.

Subjects for photographic imagery focus on grids and cage-like structures, architectural references and script, to suggest a sense of containment and provoke questions around the function of language and architectural spaces. To evoke an impression of disorientation, elements of an object, view or script are framed by the camera, isolated, skewed and abstracted out by rotation and manipulation.  Manipulated images projected onto fabric hangings as a slideshow are videoed and result in a complex, layered image when extracted as stills from the video and printed onto sheer fabric.  My large-scale work attempts to create an ‘environment’, an installation that the viewer can physically negotiate by moving around or between the elements.  Smaller details should draw the viewer in, creating a private moment of discovery.

Choices and combinations of imagery aim to suggest an impression of remembered feelings and emotions that shift with the angle of perspective, perhaps inviting a sense of unease and disorientation.  They act as a visual symbol, a code which the viewer is invited to decipher.  I explore the use of natural light and projected imagery to imply ambiguity and shifting meaning.  The imagery constantly alters with subtle shifts in the light and air currents, reflecting the passage of time in the changing view of the space through and around the work.