Click on the link below or otherwise look up Fiona Davies then Selected work then Blood on Silk Bleeding Out. The first two images show you what the work looks like in full light without the projection. I’ve done this to give you an idea of how it works physically in space. Then the overhead lights are turned off, the interior lights go on, the projection goes on and then the audience is added.
A table top set up with viewing positions like a peep show allows the viewer to look down into a surreal landscape of homogenised real and play or pretend medicalised equipment, as it is washed by the projections of a slow bleeding out. The world within the surreal landscape is controlled and contained where its boundaries operate like a semi permeable membrane with some things held and others allowed to pass. When the viewer bends to look into the peep holes/microscope lenses set into the bottom of everyday glass kitchen and tableware the projections then show on the back of their heads co-opting them into the landscape but not necessarily requiring their informed consent.
My new work from the previous post Bleeding Out Internally, the book is in this exhibition.
Invitation to celebrate the opening of Prescriptions at The Beaney House of Art & Knowledge
I’ve just come back from Boston where I attended the Transcultural Exchange 2016, an international conference on opportunities in the arts. As part of the programme I chaired a roundtable discussion about artists working with medicine. Much to my surprise a reasonably sized crowd of about forty people participated and I was really excited by the generosity and willingness to encourage everyone to share their voice and experiences. It was a great way to start the conference and also meant that as a relative unknown I met and got to know a large number of the conference participants through this process. All in all something I can totally recommend
‘Many people ask me what scientists “get” from work with artists. I feel James Wells, the theoretical physicist who was the ‘inspirational partner’ for Collide@CERN’s first artist in residence Julius von Bismarck expressed it so beautifully when he talked about valuing having someone around who saw the world in a different way, whose influence, he felt, could shake up accepted mindsets. In a talk, Wells notes that the process of becoming a scientist can “snuff out the daring impulse” in young scientists and that it is the “tremendous daring and openness of ideas” of artists that might really benefit the scientific community. “The first thought of an artist is not can we do this, but ‘this is what I want to do’” he remarked.’
Physicist James Wells with Julius von Bismarck, the first Collide@Cern Artist in Residence
Click on the picture to link to the full blog post by Nicola