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Home Truths

13/3/2012

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'Look at this. Who can say it isn't beautiful? Sky, bricks. Who do you think lives there? Four-car garage. Hope, fear, excitement, satisfaction...'
A much loved clip from True Stories with David Byrne.

I live in a village. On the surface, every house is pretty much the same, but of course, behind closed doors, all manner of life is played out.

The last video I posted was a totally random juxtaposition of events, an unplanned recording from a domestic incident, a faulty smoke alarm, some philosophical pondering. I chose it for a number of reasons. It seemed to have some of the elements I'm looking for in this space -

Reside - created for the artist who proves highly unsuitable for any other residency. Reside mines the immediate landscape of the artist's day to day life.

Aspects which make me unsuitable for residencies.

1. I have no time. (big families and the need to make money to eat dictate this).
2. I can't travel - (I would no doubt benefit from a residency in the Antartic but I have to be back each day for school pick up.)

So here's my plan. I want to hire the spaces in my immediate vicinity - the village halls, church halls etc, one a month, for one hour. Between the badminton club and the yoga group, the scrabble club and the pre-school, my residency will sit. I will enter a contract and own that space for one hour. I will make my residency to suit myself. What will I do when I get there? I'm really not sure, and to be truthful, I'm a little scared...




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    _Author
    Susan Francis is a Belfast born artist now living in the South of England
     

    Assigning words to a process which, by it's nature endeavors to exist outside the borders of a textual medium will never be easy. I suppose, to use a literary metaphor, I see my work as a constant enquiry, an incomplete sentence, a phrase articulated through material, object and space. It is quiet work, a vocabulary of cast offs, objects, liquids and processes, at times unstable, prone to decay, but familiar to us all.

    With influences ranging from Eva Hesse's organic minimilism to Watteau’s scenes of frivolous beauty tinged with wistful sadness, my work is often unashamedly poetic. Peering into the unspoken corners of our condition, I traverse a landscape shifting beneath us as the domestic enclave is infiltrated by a digitally connected world, where the ambiguity and at times falsity of relationships, truth and love languish in a vulnerable and fragile context.

    At the core of my practice I suppose I wish to open a dialogue with myself, the space, the viewer – where others will take that conversation is for them to decide.

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