BMC and the Arts -- Visual Arts


Amanda Latchmore www.harrogateyoga.com

                      

Synovial Fluid or Dancing to Gamelan Music


Rebecca Haseltine

"I’ve been moving into new materials, methods and presentation.  My roots in the body and in movement are still present, but drawings have transformed into pourings.  In place of the gestural mark of the body is the accidental mark left by water and its movements.  This also reflects the body, but without my personal signature.  This hand-off approach grew organically out of the deep hands-on and even hands-in practice of somatic drawing.  Lack of control has become the main ‘material’ besides water.  This has been fun and satisfying.  We are made of fluid.  We may try to control our blood flow, but this can result in high blood pressure. Damming rivers stores water but destroys so much else:  salmon spawning cycles, seasonal water levels, and ultimately the whole health along the full length of rivers down to their muddy deltas.  To study flow is to be forced to witness.  I recreate the conditions for such natural processes as pooling, deposition, and evaporation, and the resulting visual shapes are not of my direction, only of my influence. Ultimately the image is a product of such things as a wrinkle in paper, the tilt of my floor, the surface tension of water, and the density of a pigment.  I call these pieces ‘pourings’ because that is what they are, and it acknowledges that something leaves my hands and then has a life after that.

The installations have allowed me to work spatially and to learn about flow this way, as well.  A two-dimensional panel becomes an object when it is hung in the middle of the space.  It is like a blade that carves, shapes and directs movement.  It is also like our mind – with two sides that can’t see each other but work together.  Any two dimensional object refers to language and communication, and we seek information from it.  The pourings can be examined as would a piece of bark:  the information is open.  The scroll form cannot be seen in one glance; it’s not one image but a montage of many.  The long panels can only be seen over a period of time, journeying visually from one end to the other.  Further, by dangling in space, the scrolls swing and respond to movement and can be touched.  I want to invite the viewer to step inside of the piece and become a participant. "

 www.rebeccahaseltine.com