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The invitation

24/7/2012

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Okay, not much longer to go, the penultimate post, I knew the time would fly past but I tried not to measure Reside by dates and deadlines, just to let it be, as it were.

As I've mentioned before I wanted somehow to reach out and include others in this mini project, but was not really sure how that would occur. I knew I wanted to approach people outside of 'the art world' as it were, for want of a better word.

Last night I was due to drop in with an organisation nearby that supports people who are experiencing homelessness, helping them get life back on track. First and foremost of course, they are ordinary people like the rest of us, with a wealth of experience and skills in many different areas. We do a little art work together. I hadn't made any plans.  It was a really sunny, peaceful evening and I noticed the Methodist Hall opposite my house lying empty as the various clubs have stopped for summer break. So why not.

I met with one woman and four men there.I told them what I have done and showed them the footage in the images. We talked. We discussed what art might be. I showed them the materials, some paper and fabric - and space, lots of it.

At this stage they could have laughed, ignored me, or challenged my decision to even invite them here. Instead they began to roll the paper out. They rolled and rolled until it was entirely off the cardboard tube. They found some tables and chairs and began to construct.


Picture

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They discussed, explored, made decisions, folded, constructed, laughed, argued, photgraphed and tidied up, all in an hour....and like myself, I've a feeling they thoroughly enjoyed it.


(all materials by the way, are rejected and recycled items from wall paper manufacturers etc)
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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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