Caress With Eyes Only
Dimensions
2000 x 536.4 (diam) mm (outer circle)
Materials
Installation: porcelain hand extruded coils are used to make hundreds of calligraphic shapes fired to 1300°C. The shapes are attached to 38 strips of transparent tulle assembled in two circular forms
Artist statement
‘This work deals with revisited aesthetic encounters of the seen, imagined and the felt spatial memories of growing up in Harbin, Heilongjiang province, northern China: a place of extreme climatic intensities. These memories are not only of visual dimensions, but multi-sensory experiences of sight, smell, taste and sound.
The aim of Caress with Eyes Only has been to create a space of sensory lightness, silence and contemplation using basic elements of line, light and shadow. Wanting the viewer to circulate around the suspended form of positive and negative spaces, with porcelain lace-like calligraphy resembling delicate drawings that create shadows and further the complexity of the line work. This installation can be read as a drawing through time and space.’
Caress With Eyes Only
Tanya Alexandra Richards
Dimensions
2000 x 536.4 (diam) mm (outer circle)
Materials
Installation: porcelain hand extruded coils are used to make hundreds of calligraphic shapes fired to 1300°C. The shapes are attached to 38 strips of transparent tulle assembled in two circular forms
Artist statement
‘This work deals with revisited aesthetic encounters of the seen, imagined and the felt spatial memories of growing up in Harbin, Heilongjiang province, northern China: a place of extreme climatic intensities. These memories are not only of visual dimensions, but multi-sensory experiences of sight, smell, taste and sound.
The aim of Caress with Eyes Only has been to create a space of sensory lightness, silence and contemplation using basic elements of line, light and shadow. Wanting the viewer to circulate around the suspended form of positive and negative spaces, with porcelain lace-like calligraphy resembling delicate drawings that create shadows and further the complexity of the line work. This installation can be read as a drawing through time and space.’