Maxine marsh

 
 

The site-specific installations I create are a physical exploration into making connections between thinking, feeling, people, place and memory. Whilst there are ideas about permanence and the psychology of space both metaphorical and actual they are a reflection on my on going learning, search for understanding, through a material experience that has been prioritized over language.


The finished works are an overall attempt to create installations that are beautifully simple yet surprisingly complex. My intension is to echo human traces and forgotten murmurs of the past, rooted in post minimalism, land art.


My choice of materials is the discarded and unwanted, predominantly hair, either in isolation or in combination with found objects from specific locations. I explore soft, rounded forms in juxtaposition with harder more structural materials such as wood, nails and metal. Using a process of transformation for example hair as remembrance, a physical presence, becomes twine through spinning combining the intimate with the public.


What is exciting for me is what happens when decisions made apparently randomly, haphazardly come together and find a voice of expression. None of the work is purely gestural since there is always intent, a support (stage/structure/frame), the finished works Inhabit the void between sculpture and drawing, neither an object nor a line. They illustrate the dichotomy between knowledge, a self-consciousness act and the accidental; it is my desire to respond to a reality beyond that of appearance.


The work is site specific in that I respond to a gallery space or a particular environment, thinking about where the objects will end up before and during making them. The pieces are never really finished until they are in place, and would be unavoidably destroyed or broken when an exhibition is over, enabling them to be remade slightly differently elsewhere, in this way there is no finality. The ambiguity of the work through its simplicity allows the audience to take their own readings, influenced by personal experience and perception.

Fine art practice