Photographs of The Level, Brighton, from three angles. Taken from October 21st 2020 to October 21st 2021, taking in Autumn equinox, Winter solstice, Spring equinox and Summer solstice.
Taking the photographs became part of an almost daily routine, and doing it I became acutely aware of the changing seasons, aware of all the activities taking place and how has access to local green space felt so vital.
A graph / scarf documenting the rollout of the Covid-19 vaccine in the UK.
I cast on 100 stitches to express the whole population, with an additional 3 for the bottom axis. It’s knitted in moss stitch. Red column indicates 3rd national lockdown in England in first week of Jan 2021. Green columns show key points in route out of lockdown (ie schools re-opening).
Population size taken from last ONS estimate, and 1st and 2nd dose rate taken from .Gov dashboard.
Stitches representing the 1st dose are yellow, and second dose blue. Weekly data available for the first two weeks of Jan, it then became available daily. Breaks between weeks shown as darker grey columns.
A temporary site-specific installation of a series of small mirrored objects. Inserted into the holes left by missing railings along the beachfront at Black Rock, Brighton, they offer curious passersby a series of mini-views.
A nod to the proximity to the nudist beach, and referencing the slot telescopes on the promenade, end of the pier entertainments and halls of mirrors, these mini-views offer playful distortions of the beach / skyline (without actually invading anyone’s privacy!)
“Some questions don’t have answers. Some answers are relative. Some questions lose meaning with repetition. Some answers are made up. Some questions are asked only by children. Some answers are understood only by adults.
Emerald Mosley (visual artist) and Maddy Costa (writer) invite you to collaborate with us on an alternative string theory, making (non)sense of art and life. Use a length of string to match a question with an answer. Choose what makes sense to you at this moment in time. Match as many or as few as you like. Remember there might not be an answer. And how long is a piece of string? That depends on you…”
Christina Ballard and Emerald Mosley are thrilled to have won the summer sculpture competition organised by D&D London, Belu and WaterAid. It is on show throughout September on the roof terrace of the Coq ‘Argent restaurant in London.
“The site-specific installation in glass and ribbon on the roof terrace of the Coq D’Argent restaurant in London, re-appropriates one thousand used Belu bottles and incorporates over five kilometres of cascading and interwoven ribbon.
With their sculptural installation the artists aim to prompt consideration of our limited access to safe water, which we rely upon to live. Water covers the majority of the earth’s surface, yet almost all of it is saline. Only 2.5% of water on earth is fresh, not salty. Astonishingly, less than 1% of that fresh water is accessible and safe to drink.
Colour is used in the installation in a visually striking way to reference the locations and states of fresh water. Six hundred and ninety-nine bottles represent the almost 70% of fresh water that is frozen (found in ice caps, glaciers and as permanent snow); three hundred bottles refer to fresh water which is not accessible for human use (found in soil moisture, or lying in deep underground aquifers as groundwater); and just one bottle refers to the proportion of fresh water on earth that is accessible and safe for human use.”
If one should fall, 2013
Christina Ballard and Emerald Mosley
sculptural installation, glass, ribbon, glue
255 x 300 x 280 cm
3 – 30 September at Coq D’Argent, 1 Poultry, London EC2R 8EJ
The long form of the space made me want to do something linear; but I also wanted to respond to the broken and jumbled-ness of the gravestones that were being stored there. Also to the typography of the memorials.
The lead being heavy enough to hold the balloons just shy of the ceiling, but not so heavy that they cannot move from their initially linear placement so that the words become jumbled.
The balloons inflated with helium so initially they are floating but as time passes they fall, perhaps even burst
Thinking about people that are gone; the weight of loss, and the lightness / fleetingness of memories we have of them; the thin lines that connect (and break between) the two.
Initially made for a site specific installation in The Crypt Gallery, London. Subsequently shown as part of This Temporary Matter as part of the Bath Arts Fringe. There, instead of a paper strip, I used black, blue and orange gravel to demarcate the line.
In a similar way to the helium gradually dissipating and the balloons losing their height and position, the gravel line also got disrupted over time. and A visitor (ex-soldier) noted that it reminded him of the coloured gravel that was used to keep the weeds down around headstones which I thought was apt.
Photograph of the balloons captured in a mirror during her performance via @hannahmaryartist
Hope / Loss
Helium filled balloons, nylon covered steel, lead type (Perpetua, 16pt – ‘I remember you’), paper, ink.
Thanks to Bob at St Bride’s Library.
“There are three deaths. The first is when the body ceases to function. The second is when the body is consigned to the grave. The third is that moment, sometime in the future, when your name is spoken for the last time.” —David M. Eagleman
You must be logged in to post a comment.