Staccato (piu animato)
Dimensions
2600 x 2400 mm
Materials
Screen: 30 suspended double panels, aluminium and painted MDF
Artist statement
‘My fascination with pattern, as a way of exploring life’s inconsistencies, may be partially explained by my ambivalence towards homeland. I do not feel I have a place of origin. While I was born in the United States, I made 12 moves in my first 18 years.
Like the musical command, Staccato is a score of short, sharp, detached notations. The pattern has been cut through each panel’s surface so the spaces become the notes, allowing the environment to take part in the creative process. When stainless steel cables suspend the panels, the work becomes a floating wall, casting shadows and patterns on nearby surfaces. As panels are shifted, removed or added, messages of rhythm and spontaneity continue. Compositions can change, and change again.
With Staccato (piu animato), additional panels using colour and altered spaces, allows me to reveal fragments of temporary order, without presuming to have uncovered a fixed pattern.’
Staccato (piu animato)
Patricia Harper
Dimensions
2600 x 2400 mm
Materials
Screen: 30 suspended double panels, aluminium and painted MDF
Artist statement
‘My fascination with pattern, as a way of exploring life’s inconsistencies, may be partially explained by my ambivalence towards homeland. I do not feel I have a place of origin. While I was born in the United States, I made 12 moves in my first 18 years.
Like the musical command, Staccato is a score of short, sharp, detached notations. The pattern has been cut through each panel’s surface so the spaces become the notes, allowing the environment to take part in the creative process. When stainless steel cables suspend the panels, the work becomes a floating wall, casting shadows and patterns on nearby surfaces. As panels are shifted, removed or added, messages of rhythm and spontaneity continue. Compositions can change, and change again.
With Staccato (piu animato), additional panels using colour and altered spaces, allows me to reveal fragments of temporary order, without presuming to have uncovered a fixed pattern.’