Dr. Chamkaur Ghag’s talk Dark Matter presented by super/collider at Second Home was inspirational in many ways. It was fascinating to hear a first hand account of how the search for dark matter is conducted and the challenges that face scientists looking for something so elusive. We learnt that there are underground laboratories around the world where research takes place away from background radiation which makes it harder to isolate any particles that might be dark matter.
The occurrence of dark matter was first theorized through the pioneering research of Swiss astronomer Fritz Zwicky who in 1933 looked at galaxy rotation curves and decided there was more going on than could be accounted for by the mass of the matter we could see. Something mysterious was holding the galaxies together. It is dark matter that allows structures in the universe to form by pulling matter into the gravitational field of pools of dark matter.
It could be that Plato accounted for dark matter when he assigned this role to the fifth platonic solid – the dodecahedron as ‘a fifth construction which God used for embroidering the constellations on the whole heaven’ – a concept that I used as a framework for Pairi Daêza
Susan Eyre Pairi Daêza
Using the net pattern that is used to construct a dodecahedron to mesh together images of constellations, an abandoned walled garden and a roundabout. Recent imaging of dark matter derived from the way it distorts light shows it as a web like structure.
It is still not known what dark matter is, it does not reflect or emit light and doesn’t interact with the fundamental forces except gravity. At present there is speculation that it might be a WIMP – a weakly interacting massive particle and the difficulty in confirming this theory is in witnessing a particle collision with the nucleus of an atom. The majority of these particles pass through the earth without even hitting an atom.
It was exciting to find out we have one of these underground laboratories in the UK set in a working salt mine north of Whitby. The Boulby Underground Laboratory is a special place for science – ‘a quiet place in the Universe’. The ZEPLIN dark matter experiment ran here until 2011 using a liquid Xenon target. Xenon is a liquid gas that glows with a very pure light. Should a dark matter particle hit the atom nucleus there is a scintillation in the crystals and light is given off, also a little heat and ionisation. Only the dark matter particle will hit the nucleus of the atom, other particles, gamma rays etc will hit the electrons first giving a faint flash that can identify them. The detector must be very sensitive which is why they need to go deep underground away from background radiation. The program moved to LUX at a disused gold mine in the USA but is due to return to Boulby for work on a much larger scale.
Studies at Boulby range from the search for Dark Matter in the Universe, to studies of cosmic rays and climate, astrobiology and life in extreme environments, development of techniques for deep 3D geological monitoring and studies of radioactivity in the environment.
The most exciting part is that a group of RCA graduates, myself included, will be able to visit the facilities early next year with a view to making work in response to the research taking place there. I am really hoping that we can organise a touring exhibition of work made in relation to this and engage people in these fascinating concepts, to think about our place in the universe and the extraordinary nature of everyday matter.
Elizabeth Murton who runs the peer crit group Engine ChatChat organised an artists sharing dinner at Bow Arts and invited along artists who use textiles in their work so we could chat and exchange ideas about our work. The guests included Kirsty Lowry, Lizzie Cannon, Katherine May, Jessica Hemmings, Jessica Smulder-Cohen, Ruby Hoette, Angela Maddock, Malina Busch, Jodie Carey, Lauren Jetty Howells-Green. We all gave a little presentation and chatted over dinner about our interests and the different reasons why we might use textiles in our work.
Lizzie Cannon meticulously repairs the cracks and decay of the material world.
Lizzie Cannon Corrosion (study with beads)
Angela Maddock investigates how we might use craft practice, especially knitting, to question ideas about our relationships with people and objects.
Diana Springall has a passion for embroidery and hopes to instigate a major retrospective of embroidered works.
Diana Springall
Jessica Hemmings is a writer who has researched textiles as a distinctive area of cultural practice and a developing field of scholarly research.
Ruby Hoette proposes alternate modes of accessing and engaging with fashion. She frames the garment as a unique artefact carrying traces of social and cultural interactions and transactions.
Ruby Hoette Lost and Collected
Lost and Collected is an ongoing project that documents and maps lost and discarde clothing and proposes an alternate understanding of the value of a garment.
Jessica Smulders Cohen’s passion is creating a sustainable textile and fashion industry her film is watchable via the password is “fibreshed” https://vimeo.com/136830440
Kirsty Lowry is interested in psychological space and also makes work with light and I particularly like her electric prints using the conductive qualities of graphite.
Kirsty Lowry Gravis: Electric Print
Hannah Collins showing at Camden Arts Centre also investigates the emotional and psychological aspects of space. Her exhibition presented the open spaces of the dessert and the dense closure of the rain forest.
Hannah Collins The Fertile Forest
The poetry of the wall plaques was at odds with the clinical display of the photographs of medicinal plants of the rainforest. Two perspectives brought crashing together.
Hannah Collins The Fertile Forest
The Fertile Forest shared a resonance with the Taryn Simon exhibit at the Venice Bienalle. In Hannah Collins work it was power of knowledge that is being lost whereas Taryn Simon looked at displays of power in the corporate and political world, documenting the flowers used in the bouquets and arrangements that were the backdrop to moments in history. Coming from very different places both artists show the diverse ways we use plants in our culture.
Taryn Simon Paperwork and the Will of Capital
Formal formality
Taryn Simon Paperwork and the Will of Capital
Katherine May is interested in plants as a resource for dyes and perfumes
Katherine May The Nature of Colour underground installation at a perfume factory in Floris
Jodie Carey painstakingly extracts dyes from flowers to colour the yarn for her crochet. Flowers here are a metaphor for the fragility of life.
Jodie Carey Untitled(Bouquet)
The bouquet of cut flowers prepared as a gift of love is already a symbol of death.
Danh Vo
We are all flowers growing on this earth, picked by God at some point, a little earlier for some, a little later for others. One is crimson rose, another the virginal lily, another the humble violet. Let us all try to please the Lord and Master, with the perfume or radiance we were given. – from a letter written to his father by the soon to be executed J.Theophane Venard 1861.
Danh vo
Danh Vo invokes demons in the Danish Pavilion. Fragments of belief. A whiff of the Catholic Church, cherubs, polished wood. A mostly empty space, calm yet from these symbols we do not receive comfort but a jolt as we read lines spoken by the demon in The Exorcist (1973)
Danh Vo
Do you know what she did, your cunting daughter?
Danh Vo
I was lucky to meet Imogen Stidworthy as a visiting tutor at the RCA. I had a very inspiring tutorial with her which really helped me make decisions about my final show. She was showing some very moving work at the Imperial War Museum – a sculptural sound installation developed through interviewing two former British soldiers who suffer from post-traumatic stress disorder, and the wife of one of the soldiers, who lives with the effects of war at home.
Imogen Stidworthy The Work v5
She uses the voice as a sculptural material, engrained with traces of experience and transmits these voices through objects associated with conflict, exploring memory and the difficulty of communicating traumatic experience. We feel we are eavesdropping on a private perhaps internal conversation; echoing through the layered voices is each persons isolating pain.
It seemed appropriate for me to go and see Finding Paradise at Lacey Contemporary as this was the title of my dissertation.
The gallery was vibrant with paintings of lush landscapes, forgotten pasts, and the ever-changing patterns of nature by Gemma Billington, Orlanda Broom and Ylva Kunze.
We can never inhabit paradise for more than a fleeting moment. It can be glimpsed on the edges of our vision and drive our passions but to find paradise is to experience ecstasy and a perpetuity of heightened bliss would actually be torturous to endure. Its power and attraction lies in its being momentary.
These fleeting moments and sensations which are not fully understood because they are only briefly glimpsed or experienced are what inspires the work of Malina Busch who explores material possibilities looking for traces of memory.
Malina Busch Curl Up
There was a political edge to this years Venice Biennale with the theme All The World’s Futures.
It added a serious undercurrent to a lot of work which drew on documentary and news footage. Apart from Sean Lynch representing Ireland I didn’t have a list of must sees this year. At the last Biennale so many of my favourite people were showing, this was a chance to come across new names.
I was keen to see what Sean Lynch would present as I had enjoyed meeting him during his workshop at Flat Time House and really like the way he works.
Sean Lynch Adventure:Capital
His installation Adventure:Capital encompasses his interests in stone carving and storytelling. He manages to pull mythology into London’s contemporary financial district. A narrated video sweeps through history from the pits and quarries to the monuments and symbols of power that are made from the stones pulled from the earth.
Sean Lynch Adventure:Capital
This inversion of material is dusted with magic as the narrator traces the polished stone of the corporate world back to the rocks of prehistory.
The gods, swollen with symbolism are everywhere, causing havoc with their greed, gluttony, fertility and abundance.
Sean Lynch Adventure:Capital
There was striking work in the Nordic Pavillion by Camille Norment.
In Rapture eerie sounds emanate from a thrusting bank of speakers on the ceiling.
Camille Norment Rapture
The large empty space is skewed with shattered billboard sized glass windows. It looks like the aftermath of a cataclysmic disaster and holds you in the moment when the ringing in your ears could be shockwaves of an explosion that segue into the voices of angels heralding the appearance of the saviour.
Camille Norment Rapture
The sounds could be coming from the fragmented glass as they have that quality of a finger across a wet goblet rim. It is at the pitch of angels and voices do join the chorus. In fact Norment has used a glass armonica to compose this soundscape, an 18th century instrument that creates ethereal music from glass and water and was invented by Benjamin Franklin.
Camille Norment Rapture
The glass armonica was used to cure many ailments with its entrancing sounds but was later banned for fear it aroused sexual excitement in women bringing them to a state of rapture that might overstimulate and ultimately kill them.
Susan Eyre 