For our first InTheWindow of 2021, we present former AirSpace Studio artist, CHRIS WOODVINE's multi media work SITTING CROSS LEGGED.
Streams of text, images and video follow each other around as they are shared, quantified and rebuilt as a digitized landscape that exists in advertising and sales. The work comments on where the digital interface exists in physical space and looks at the transformation of activity and labour that produce nervous energy in the realm of productivity. Acceleration and simplification around the endless availability of images and videos to watch and listen to.
Being nervous, clammy and anxious is attached to watching and monitoring others whilst being watched and monitored by others. A culture of mixed emotions in a domestic setting. Being able to stream public humiliation and experience the experience of vulnerability made very private and very convenient for an individual, without having to go anywhere or stop what they’re doing, carrying on as normal and saving face.
Chris' short video, to accompany his window installation, uses his digitally enhanced map-like drawings, giving them a reflective quality. The video centres around thoughts about plastination, the process of preserving biological tissue using high-molecular polymers. A process that can generate non-toxic anatomical specimens, which can be used for long-term educational purposes.
(audio mastered by Alex Dudley)
Chris Woodvine’s multimedia practice centres on his interest in the power and mechanics of language. He uses readymade objects, video, drawing, painting, sound, and writing to investigate language from a multisensory perspective, often translating words into images. In collaging together elements of his practice, his work is concerned with acts of condensing, summarizing, subtracting, and how these are associated with the flow and circulation of objects, information and people around the world.
After studying in Sheffield and assisting to set up an artist-led space there, my practice has changed to my living situation. In the space I experimented with found objects and collage that often used video or sound alongside sculpture and image making, I was interested in authorship of the work, and reappropriation. I then went travelling for 6-months, and my work moved into writing and experimental poetry where I became fascinated with how writing works in translating an experience, and I questioned how order and sense making work in this arena.
Being a drummer from a young age, through each of these phases music and sound have always preceded the work I make. I often think about how time and space play a part in sound and visual art.
Most recently I became a studio holder at Airspace where I began to focus on making paintings and sculptures, and I acquired my first international artist exchange. Following on from my time at Airspace, is now concerned with making space in a much larger context; what is it to make space? What is it for? And how is it maintained? I’m interested in the acts of condensing, summarizing, subtracting, and how these are associated with the flow and circulation of objects, information and people around the world. I have become interested in how the digital market uses people to make it work all of the time. Why are many of us nervous, anxious and clammy, and is this attached to how we are being watched, monitored and condensed into data sheets?