Chance and instability are elements that intrigue me in art
making processes, but chance by its very nature is difficult to set up, predict and
influence without being overly heavy handed and theatrical. Trying not to be too precious or prescriptive, I kept my Dalliance layers of powdered
charcoal intentionally unfixed and
unprotected to see what would happen. I was unsure how carefully visitors would
move around the gallery and how aware they might be of all our artworks off the walls and across the floor. Sometimes visitors are very cautious about negotiating their movements
around unusual works, and sometimes they are not. Although this installation is situated in a wide-open space, it ended up being between the entrance and the bar – the opening
night was busy – not very surprising then that someone would step straight through
it. That footprint trace was documented and then buried beneath another layer of charcoal.
Later in the week an excited dog ran across the corner and left
some more delicate swishing paw-prints. Endearing! And the embarrassed owners
are apparently relieved that I think so. These marks are being kept in situ
for a few more days, we’ll see what occurs over the final weekend.
Kath Fries
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Kath Fries, Dalliance, 2016, beeswax, string, charcoal and paper
detail view, day 1
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Kath Fries, Dalliance, 2016, beeswax, string, charcoal, paper and ceiling bolts
installation view, day 1 (with Renuka Fernando, Continuous Drawing, 2016)
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Kath Fries, Dalliance, 2016, beeswax, string, charcoal and paper
detail view, day 1
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Kath Fries, Dalliance, 2016, beeswax, string, charcoal and paper
detail view, with boot-print after opening event
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Kath Fries, Dalliance, 2016, beeswax, string, charcoal and paper
detail view, with dog paw traces, week 2
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Kath Fries, Dalliance, 2016, beeswax, string, charcoal and paper
detail view, with dog paw traces, week 2
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Kath Fries, Dalliance, 2016, beeswax, string, charcoal and paper
detail view, week 2
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