School of Design

Laura Hindmarsh

This body of work is centred around creating an awareness of visuality and ways of seeing via exploring the experience of heightened spatial consciousness through the setting up of viewing conditions.

Constructed and altered visions moving between 2D image, 3D structure and 4D performed action make conscious the illusion of perspective and standardised perception.

Screen projection piece

The piece completed as part of Relay (October 2008) investigates a work in the test site of the gallery space. In relation to interfolding the action of its mediation I re-projected the process of its making back onto the resulting structure. In filming myself in the performative action of the work's construction I wished to harness the use of my body in a manner more conceptual than sensuous. The reprojected footage allows for a process of discovery on the part of the spectator as they come to stand the action of the works mediation and critical level of process. A viewer is exposed not only to a unitary form but also the distillation of my own persona and political process of intention.

The resulting work could be seen as a critique of the gallery space as through the process of presentation the gallery space itself and the performance of viewing work is addressed. Each part of the work – the structure itself and the reprojection is realised through the spectator who, having first perceived the work, attempts to deconstruct it.

I see the work as an investigation of Merleau-Ponty’s claim of the failure of perception in that it is impossible to be both subject and object as the point of coincidence collapses at the moment of realisation. I wish to create through such a work a charged moment for the spectator which goes somewhat towards interfolding subject and object.

Constructed photographs

These constructed photographs return to the subjective moment of perception with the aim less to activate viewers than to produce them in a critical attitude towards perspective. Through the ‘correction’ of flatness of photographic illusion another illusion, this time somewhat disorientating, is produced so the viewer is left to deconstruct the understanding of pictorial/photographic perspective existing beyond the picture plane.

They could be seen in the linage of Bruce Naumans comments on the ease of perception to be altered and perhaps it is more fragile and contingent than we allow.