Suborbital (one moon, two shores), projection on board with plastic disc, 2024, is an installation using a shape taken from a map of where I walk each morning through the landscape around my home, which has a projection of two shorelines (one in Yorkshire, one in Lanzarote) and a hanging, rotating disc almost touching its surface. The disc randomly interrupts and captures an image of my children in the ocean, moving more frequently when a person moves within its vicinity.

Ambient Stones (sea egg), video projection on fired clay, volcanic sand, 2024, is an installation which incorporates a stage-like set featuring various fired clay sculptures painted with mine ochre that capture the projection and create a miniature landscape within the boundaries of the table. The video is of my daughter creating a nest on the shoreline and playing with a stone that she imagined was alive.

Tradewinds (2022)

I had no idea what Tradewinds was about when I made it. Part dance, part mountainscape, part awkward domesticness. A piece of digitally printed fabric being blown around by fans in a room.

There was just this instinctual need to make something about hanging out the laundry. I actually enjoy washing my family’s clothes, there is a simplicity and - historically - it connects me to women all over the world. I had relief-printed the floorboards in my kitchen because they are full of intricate wave-like patterns from decades of tree growth and I wanted to blow them up big so they could engulf my body like clothes or water. Then I thought about the wind that dries our clothes, and the winds that have taken humans, animals and seeds around the globe for millennia. And most importantly for me, I thought about the North Atlantic tradewinds that took me from the UK to Lanzarote, where I became a mother and started my own family. Thinking beyond myself, there is also the inescapable fact that these same winds have played such a significant role in the development of our capitalist system, through colonisation and the Atlantic slave trade where the colonial trade pattern follows the clockwise air and water current system in the North Atlantic. The black and white prints were not made to intentionally reference this division of power, however, I’m glad that I feel this narrative could be read in what is a deeply personal piece of work about matriarchy and attempting to reach a connection through materials and processes.


Photograph by Jules Lister, 2022.

A Day Out in Bridlington (making the most of it) 2022, is a double projection of two very different experiences of the landscape in Bridlington. The super-fine maruishi paper moves gently as the viewer walks around it, and the semi-permeable surfaces allow leakage or slippage between the two encounters with the landscapes. The clash of aesthetics and forms, sounds and activities is an attempt to make the most of what is on offer and discover hidden connections between the two worlds. The installation was incorporated into the Hidden exhibition at The School of Fine Art, History of Art & Cultural Studies at The University of Leeds in September 2022.

© Clare Carter
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