Topography of Harm: Series 4

These have been united: ink side and bloodied side…

…as thumatrope with the addition of thread to twist:


Trying to spin and video these was quite a challenge, but I managed to upload to Instagram…

…or you tube if you prefer here.

Have had some thoughtful feedback on this step and the movement of the piece seems to be quite critical to what it is conveying. It leaves interpretation to the audience far more, and it allows for multiplicity of readings and layers. This is proving to be quite an enquiry.

I wonder what other ways there would be of animating these works?

I fin the film recalls the black and white movies, of the likes of Georges Melieres. The flickering and spotting, as well as the slight theatricality and of course the moon-shaped disc!

I do find though that the blood spots overwhelm the inked design – but this in itself is conveying meaning. I am delighting still in the process. To confirm this further I managed to track down an old copy of the text ‘of inner spaces’ concerning gestural painting in Modern American Art. On opening the frontispiece I am greeted with the most inspiring quote from Mark Tobey:

‘The dimension that counts for the creative person is the Space he creates within himself. This innerspace is closer to the infinite than the other, and it is the privilege of a balanced mind…to be as aware of inner space as he is of outer space. If he ventures in one and neglects the other, man falls off his horse and the equilibrium is broken.’

3 thoughts on “Topography of Harm: Series 4

  1. An interesting development, Lottie! I wonder if you could mount the piece so that it spins in the wind or an air current? Or maybe go the other way and have it mounted to a motor (like in a drill) that spins it continuously. However, the variability of moving it by hand allows the viewer to see the two separate images, as well as the combined one.


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