 | |||||||||||||
|
|||||||||||||
Art histories |
|
Talking to fellow artists, bought together through this particular exhibition, Griffiths collects memories associated with a defining moment in each of their lives. Through stealing their experiences she invents histories, injecting herself into what were once someone else’s story. Describing this process as “the cuckoo approach to creativity,” she muscles in on established artists’ territories in a deliberate attempt to steal a bit of their kudos! |
|||||||||||
Paper paradigm |
|
The original work that this sculpture refers to was created from a Rubik's cube that I modified and was based around the seemingly unsolvable nature of the Universe. Called Paradigm (referring to a thought pattern in any scientific discipline) it almost serves as being a model of the Cosmos. The method of creation meant that this puzzle remained completely unsolvable. However when two or more squares come together, sometimes a ‘truth’ can be inferred only to be disproved as the piece is rotated further. The handheld nature of the object, continually rotated and upturned, means that any ‘answer’ remains relative and illusive. Further transforming this sculpture was something that really interested me as a Rubik's cube is quite limited in its movement, the Universe is perhaps not. This piece retains the same number of cubes found in a standard Rubik's cube, though now all 6 faces of each of the 27 blocks has the potential to be included. A standard cube has 43,252,003,274,489,856,000 permutations (face positions). This paper sculpture has far more due to the inclusion of all 6 faces and the ability to rotate the blocks individually and arrange them in ways other than the standard cube. There is no solution to this puzzle. |
|||||||||||
Inachis to |
|
The work is a study for a painting in a series developing images from the natural markings of butterflies. This reflects the strong influence of design in my work. For the On Line exhibition, the image has been allowed to develop a separate path in terms of its shape and organisation. This allows the component parts of the image to be downloaded in A4 sizes and reassembled by the viewer to create new individual images that depart from the source." |
|||||||||||
Divided communities |
|
The hall was located in Shrawley in Worcestershire and dated from the 1920s. It was a wooden framed structure and measured approx 60ft by 20ft - making it a small building but large sculpture. We proposed to deconstruct the hall, and then reconstruct it in a new context. Upon reconstruction it was to be split in two from the main central double doors to the rear of the building, allowing people to pass through the space between the two halves. The building was symmetrical and the split was to correspond with its natural symmetry. We were offered this building as a material by the land owner, he wanted it removed within a matter of weeks or it was to be demolished to make way for a new house. Yoke and Zoom tried to find a temporary exhibition site in a hurry, unfortunately we couldn’t find anywhere suitable so the building was knocked down, and all that remains is the concept. |
|||||||||||
Turbulence |
 |
Turbulence was recorded in November 2004 with the New York-based band Eyelash. The song is a reworking of a track written by Juneau Projects when they were teenagers and was commisioned by Juneau Projects for their 'Juneau Records in NYC' project. The track has never been formally distributed or shown on its own as, due to unforeseen circumstances, it was unable to be distributed with the other commissioned tracks at the time of the project. |
|||||||||||
Venule |
 |
"I don't particularly want to get into any specific meanings or what the track represents as I'd prefer people to listen and bring their own experience/opinions to it. What I hear and what I had in mind when the piece was recorded will differ to what someone else experiences from listening to it." |
|||||||||||