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ARTIST STATEMENT
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    Today, as a society we sample things, document change and record infinite amounts of information and detail on everything. Archaeologists gather information on past cultures and museums treasure fragments of ancient buildings, clothing and kitchen articles. At the same time, our society generates a record amount of garbage, throwing away today's version of the same things. What do we choose to let go of, what do we hold onto and why? How long will it take before today's garbage becomes the future's treasure, and do things become more interesting when part of their story is lost?

My work investigates why things with a past are often perceived with greater interest than the new, and how objects and memory interrelate. Memories themselves are not complete records, and thus have immediate potential for interest. They are records from one perspective, influenced by the individual's interpretation, cultural background and history. Memories also change with time, much like materials, modified slightly each time they are accessed, remembered and re-filed. Are some objects save over others because of the memories they trigger? These object, like the associated memories, change with time and use.

My works start as a 2 or 3D snapshot in time of the history of an object or place. I prefer subjects in obvious transition between states, abandoned houses with falling in floors, furniture fragments and nature reclaiming its own. I use a variety of materials to approach an 'authentic' recreation of a moment in time, a fragment of the story. Most often these materials are textiles, threads and yarns, but have also included wood, plastic and metal as support and structural elements. Since all materials originate from nature in some form, there is a play on the positioning of the materials in time. They move back and forth from their state in nature, to artists' materials, to art representations of natural and manmade forms. This flux between physical states and marking of time, reflects the same cycle of change in the things they depict. Where possible, elements of the subject are included in the work, a used postcard or a scrap of bark.

The connection of textiles to nature feels immediate and recent, and they wrap around their subject like time. No large processes and pieces of equipment are required in my work so the process remains closely connected to the cycle of the materials. The materials remember their natural origins and their constant state of change. They are flexible, forgiving and always in 'slow' motion. I use photographs of nature to provide clues, structural solutions and colour combinations. The materials mimic my subject matter in a constant state of change, a blending back and forth with nature.
   
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© Christine Mockett