My work is a direct response to visiting the Kiln Building at Hoult’s Yard both during daylight hours and after nightfall.
I was struck immediately by the windows with their linear marking of irregular quadrant panes of glass. Sunlight without gave intense light contrasts whereas in the evening electric lighting outside created atmospheric spatial forms of reflected light suspended onto the walls. I took a series of photographs and have placed them to attempt to get a sense of the spatial dynamics I originally noticed when exploring the building. The spatial forms and ambiguities made me think of the photographs of Ellsworth Kelly.
During October and November 2016 I collected fragments of fishing net, washed up by the sea onto beaches along the Northumberland Coast. I liked the way they had been knotted with rhythmic regularity; forming quadrants of navigated pattern but separated from the whole had become frayed and taken on an organic appearance.
Using the fishing net fragments I made some Cyanotype prints and a series of digital prints. Some of the digital prints were made with oiled paper giving the image an opaque quality. I printed onto both sides of the paper making a ‘double print’. The resulting symmetrical image has given the fishing netting the appearance of being a whole complete new form rather than the fragmented part of a whole.
I found it interesting that the word ‘knot’ appears in different contexts within nautical language - fishermen’s knots, like an unspoken, interwoven dialogue binding generations of fishing communities, knots as a measurement of nautical speed and distance and knots as a measurement of wind speed.