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ARTIST RESEARCH

Paul Noble: Nobson Newtown

   'Noble’s intricate graphite drawings describe Nobson Newtown, a place composed of labyrinthine edifices and deserted topography embedded with modules of dense detail. Employing cavalier projection—a cartographical method characterized by a high viewpoint—Noble meticulously delineates a wealth of elaborate architecture and open urban spaces. These phantasmagorical landscapes allude to sources as diverse as ancient Chinese scrolls, Fabergé eggs, Henry Moore’s sculptures, and paintings by Hieronymus Bosch. The encrypted fictions of Nobson Newtown are dizzyingly complex—visual articulations of the tensions between disorder, perversion, and logical schema.'

    Looking at Noble's drawings of the fictional 'Nobson Newtown', the chaotic repetition of buildings and ruins is something that resonates with my own practice of repeatedly creating these dark, sinister ruins, portraying something that is uncontrollable.

   We both us a monotone palette in our artwork to comment on the social and economic state of the world, suggesting a bleak grey-filled future.

Naoya Inose: The After Anthropocene

Private View & Artist Talk: 03.10.2019
   'The new geological era the Anthropocene, which means "the age of humanity", defines the epoch we live in, and it is a time of significant human impact on Earth's geology, ecosystem and climate. What kind of influence will humanity bring to this new geological age?'
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Artist Talk: About the exhibition:
  • People in Tokyo seemed happy but a lot were depressed or even suicidal inside
  • What makes our life and environment so dark?
   

  • Earthquake in 2011, people in Japan still pretending that everything is fine, in denial.

  • Naoya started the 'penguin' series once he moved to the UK

  • Penguins seem calm, yet live in such a tough environment, similar to people in Japan after the earthquake

  • Naoya felt very distant to british people

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  • Naoya explains that his paintings are related to time

  • The ferris wheel in 'Ave Maria' is a metaphor for human life going up and down

  • Naoya was inspired to think about the future when he saw McDonald's switching their straws from plastic to paper

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  • University in Tokyo was a lot harder to get into than in the UK. In Tokyo, they are more concerned with your artistic technique whereas in Chelsea College of Arts, it was more about the concept of your artwork

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  • Uses varnish on paintings to increase the density of the dimensions of the painting. In a way, there is a barrier in between the paining and the viewer. However, because of the reflection caused by the varnish, the viewer can see themselves in the paintings.

  • Technique: Naoya firstly makes a mini oil painting. He then plans the bigger painting using Photoshop before finally painting the real thing which usually takes around 3 months.

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  • Naoya explained that he has a connection to the book and film 'Alice in Wonderland'. He relates the rabbit's behaviour to the way that people nowadays are obsessed with the time and being on time

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Artwork: Ave Maria: 

  • Cave is a metaphor for birth

  • Makes beautiful paintings from a dark and pessimistic topic

  • Naoya's sister struggles with depression, so he makes the paintings beautiful to show that there is always hope

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Artwork: The End of Eden:

  • Colours in the 'television static' are happy colours, however, the happy colours contrast with the darkness after the channels stop broadcasting and there is nothing on the screen

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  • Naoya is inspired by the darkness of cities and believes that he could no longer paint if he lived somewhere happy and positive, like Hawaii

  • His work is both personal and political. He says that people should read the paintings for themselves and find their own personal meaning

  • Unsure if his paintings are negative or positive, would the wipeout of humans be a positive thing? Is the post-antropocene positive or negative?

  • Rather than being about climate change, Naoya says that his paintings are the aftermath of an asteroid from space hitting the earth, similar to what wiped out the dinosaurs

  • The swimming pools that are in some of the paintings are a metaphor for Japan. The swimming pools are clean, neat and very small. They are so small that you can't far or swim away from anything, you are trapped in Japan and it is difficult to be open minded there. The mountains in the background are other countries which are more free and open minded.

  • The huge cuboid stones are a metaphor for knowledge, untouched by most humans

  • he notices that a lot of his paintings look like set designs for sci-fi films such as Star Wars.

Angela de Weijer: The Air Raid Siren Swan Song

   'The siren plays a special role in daily life, our current system being a remnant of the Dutch welfare state from around the Cold War. It is related to the mechanical sirens and early warning systems from earlier world wars, and akin to warning entities of countries dealing with frequent natural disasters.'

   This piece of Weijer's work resonates with my own fascination with the role of sirens in history and their possible role in the future during extreme weather events or possible war. No matter who you are, the sound of a siren fills you with this sick feeling of dread, an effect that I aim to replicate in my work by using a hand-held siren.

Phyllida Barlow: Sculpture

   Barlow comments on how her sculptures represent monumentalism's ability to collapse and things being slightly off-balance. The collapse of the Twin Towers, for example. Barlow's interest in collapsing is similar to my fascination with destruction and abandonment, I suppose it says something about what it feels like to currently live in the UK.

   Barlow recycles materials from her old sculptures which gives them a new purpose. I strongly relate to this relationship to materials, from the zoetropes that I made using found objects to reusing old newspapers to make clay in Unit 9.

   Barlow states that building her sculptures includes a lot of repetition, her work is often made up of domestic sections being repeated to make these huge structures, a bit similar to the way that I repeatedly make small sculptures I have a mass installation. For Barlow, the repetition is about being in control, for me, it is more about making something huge out of lots of little things.

   'My work is about drawing attention to the way the world around us frustrates and surprises us. All sorts of things happen that make me intrigued about our everyday choreography within the urban landscape.' - Phyllida Barlow RA

Des Kay/Professor Kayoss: Sculpture

   '“Rescued” was a huge display of artefacts rescued from certain burial in landfill sites representing several years of collecting and compiling these discarded objects.'

   'The Exhibition drew attention as to how we carelessly waste items we have purchased with little thought about the environmental consequences of such an action.'

   What intrigues me about Kay's practice is the way that he finds a way to recycle almost any object to give it a new purpose by creating these fascinating kinetic sculptures. His reusing of discarded materials resonates with the way that I use old newspapers, plastic waste and engage with forgotten disused buildings in my practice.

   Kay also finds ways to include the locals of Kingston Upon Thames in his work by making his sculptures interactive, encouraging children and the adult community to think about what they are throwing away and how it can easily be repurposed to create art, toys or tools.

   Kay's involvement with the community is something that I too think is important in my practice, especially coming from a small economically-struggling town. I want to encourage my local community to find ways of re-purposing these disused buildings in ways that will benefit the town.

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Roger Hiorns: Crystal as a Material

   'In 2008 Roger Hiorns, commissioned by Artangel and the Jerwood Charitable Foundation, transformed an empty council flat in Southwark, London, into a sparkling blue environment of copper sulphate crystals. Seizure was created using 75,000 litres of liquid copper sulphate, which was pumped into the former council flat to create a strangely beautiful and somewhat menacing crystalline growth on the walls, floor, ceiling and bath of the abandoned dwelling.'

   I find every aspect of Hiorns creative process fascinating, because I believe that our ideas share similarities. Firstly, the location of 'Seizure' being an abandoned council flat, turning something that had been neglected and branded useless into something of great value and beauty. Hiorns also works with found objects such as old parts from machines, giving them a new meaning and questioning the living and the dead. The method used by Hiorn means that he only has control over the objects covered in copper sulphate solution, the formation of the crystals and how they react to the object is completely out of his control.  Turning scrap into something of value is very interesting to me and something that I would like to experiment with alongside my city of ruins.

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Janet Cardiff & George Bures Miller: Cabin Fever

   'Its miniature diorama and earphones create the illusion of a summer night in the woods, during which one inadvertently overhears a violent domestic quarrel. But it also suggests that aural trompe l'oeil may be more limited than the pictorial kind.'

   The thing that most interests me with this artwork and many other Cardiff and Miller artworks is that they are often contained in some sort of vitrine, which along with the soundtrack, makes it feel as if you are eavesdropping or watching/listening to something that you shouldn't be. I find this interesting because when people are viewing my sculptures, I want them to feel as if they are having a sneak peek of the future which should be exciting, but the reality of our future is looking very different.

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Heidi Lau: Ceramic Sculptures

   Lau 'draws inspiration from the hauntology of architecture and ruins in her practice... My work plays with the idea of ghosts and history, particularly remnants... I also drew inspiration from this ship graveyard and used the Skelton of that as the architectural foundation of this work.'

   Both Lau and I have both similarly been inspired by architectural ruins and how each ruin has a different story or reason behind it becoming derelict. Lau's work seems to be more focused on the past, such as the suppression of the Taoist religion, whereas my work focuses more on a future without humans, with the only thing to show that we had been there being the ruins of buildings we left behind.

Edwina Ashton: Why We Got So Fat

   'Edwina Ashton uses invented creatures to explore awkward sensations and social relations... The title refers to a familiar human fallibility – how we endlessly mean to do better, be better, but don’t quite manage it. What is it that stops us? Why do we sleepwalk to calamity?'

   I find that I resonate with Ashton's use of second-hand materials a lot, and the way that she can create these creatures that are full of personality out of what is essentially rubbish. While in lockdown due to the current global pandemic I am very limited in my choice of materials so it will be interesting to experiment more with second-hand materials that I otherwise might discard.

   

Saskia Olde Wolbers: Video

   In Wolbers' artwork we see many themes such as the environment, history, decay and storytelling which are shown through stunning visuals of miniature filming sets made using 'plastic bottles and hamster cages and often shot underwater in a paddling pool'.

   In 'Pfui - Pish, Pshaw / Prr' Wolbers addresses the issue of toxic waste management and the effect it has on the environment, through the anecdotes of Mr Theodosis Alifrangis, the longest-serving worker of a Greek oil spill response company, accompanied by visuals of an underwater shipwreck.

   In 'Yes, These Eyes Are the Windows' Wolbers tells the story of a businessman who bought a dilapidated house which Van Gogh once lodged in. Through video footage of the deteriorating building and narration, Wolbers tells mythological tales from the building's point of view.

   The way that Wolbers re-purposes discarded items to create her film sets resonates with the way that I re-use materials such as newspapers and plastic tubs to create my sculptures. We both use these materials in our work as a way of addressing the state of our planet caused by excessive disposal of meaningless objects.

Darren Almond: Photography

    Almond's photography process focuses heavily on 'time and duration as well as the themes of personal and historical memory...Taken during a full moon with an exposure time of 15 minutes or more, these images of remote geographical locations appear ghostly, bathed in an unexpectedly brilliant light where night seems to have been turned into day.'

   'Rivers, meadows, mountains, and seashores are illuminated almost like daybreak, but the atmosphere is different: a mild glow emanates even from the shadows, star-lines cross the sky, and water blankets the earth like a misty froth. The enhanced moonlight infuses the landscapes with a sense of the surreal or the sublime, and with haunting ideas of time, nature and beauty.'

   After taking photographs of derelict buildings and ruins along Montgomery Canal in afternoon sunlight, I realised that there was a missing element in these photographs. Looking at Darren Almond's 'Fullmoon' series, it is clear that his lighting and exposure process is what brings the photograph together, giving the images an eerie yet calming feel, which is the atmosphere that I have been trying to achieve with my photographs, which had led me to explore different lighting and exposure options in order to further develop my photography process.

Liu Wei: Sculpture

    'Part of a generation in China that grew up in a period of rapidly accelerating urbanisation, Liu Wei has frequently turned to architectural and urban themes in his work.... he often raises questions about contemporary urban life: the way we plan, build, consume and experience our cities.'

   Unlike artists who recycle materials in the context of nostalgia or history, 'Liu Wei’s approach is pragmatic. From the perspective of his reality in Beijing, these materials are simply there: the readily available flotsam of urbanization. 

commenting on world around him.'

   Looking at Liu Wei's sculptures I see a lot of elements in his practice that resonate with my won. An obvious similarity is that we have both created some kind of miniature city (Love It! Bite It!) which both include the imagery of derelict buildings, as well as recycling materials.

   However, we also share a likeness with the theoretical side of our artwork. A lot of Wei's work can me seen as a form of monument or memorial which is something that I also see with my sculptures. An underlying theme in both of our work is that of what the future is going to look like, with hints of ongoing or future war and the demolition and reconstruction that is an aftermath of war but also urbanisation.

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Fiona Hall: Sculpture

    To display her artwork, Hall has 'drawn from the concept of the wunderkammer – cabinets of curiosities which originated in Renaissance Europe as a way of cataloguing the world'

    'Crust' compromises of 'a series of small sculptures carved from baked bread installed on an open atlas, which represent various tragedies – environmental, cultural and militaristic – that occurred in the region on which it sits. One bread carving is of intricate barbed wire; another, an exploded village on a map of Syria, with tiny bricks of bread strewn across it.'

   The main themes of Fiona Hall's practice that resonate with my own theoretical thinking include that of human consumption and waste, the way we are constantly buying and throwing away, which is shown through Hall's use of discarded objects to create her sculptures such as plastic, old pipes, fabrics from old clothes such as military uniforms etc. She shows us that as a society we are tied to consuming whether we like it or not.

   Hall also works with the idea that in the new digital age we leave very little behind in terms of who we are, only leaving behind out material waste. War is also a recurring theme, focusing on human frailty but also how nature suffers from war as well as humans. Hall speaks about how her work seems to portray an increasing theme of environmental politics, perhaps because the environment being destroyed is playing a part in our everyday lives.

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Richard Billingham: Photography

    'Billingham’s first 'Black Country' series, from 1997, consists of direct snapshots that reveal degenerated urban streets, blocks of flats, car parks and backyards. These pictures encourage the spectator’s curiosity, engaging the spectator to find out more about these lonely places, while also proposing questions and concerns about our ways of urban living.'

   Billingham returned in 2003, where he shot a follow-up series 'Black Country' series, but this time they were taken in the middle of the night, using whatever artificial light way available and an exposure of 40-45 seconds. Billingham explains how he felt that he was re-discovering the place he grew up compared to the loss that he sees in his previous photographs.

   'The new photographs represent atmospheric scenes, responding to the artist’s sense of mystery and poetic beauty. Although still isolated, the streets now appear mysterious, supernatural and even magical, beyond any social concerns.'

   'The Black Country' has shown me the difference that light and darkness can make in terms of the atmosphere of a photograph. Billingham's rediscovery of his hometown resonate with the way that since coming home for lockdown I too have been paying more attention to the history of my hometown as if seeing it through fresh eyes, particularly Montgomery Canal.

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Jane & Louise Wilson: Post-Atrocities

    Three days after the Chernobyl nuclear explosion 'Vladimir Shevchenko gained access to the site and filmed the ongoing disaster. He shot some of his film from a helicopter, passing directly over the burning reactor. Viewing his footage later, Shevchenko discovered that portions of it were seriously degraded... it turned out that the aberrant flashes and blips, and the static on the soundtrack, were the invisible crackles of radiation itself... Shevchenko, along with the film and camera he used, had all been irradiated. The Ukrainian film-maker died a year later, and his camera is now sealed in a lead-lined casket at a storage facility outside Kiev.'

   'The Wilsons' work is more than just a film. Here is a black, bronze-cast replica of Shevchenko's camera, pointing blindly from its concrete plinth at a measuring stick which, reaching like an antenna towards the ceiling, disappears into the gallery's double-height gloom. More measuring sticks appear in and among the Wilsons' photographs, like divining rods calibrated with chequerboard markings and stripes. They measure nothing, just as the bronze camera sees nothing.'

   Through a variety of mediums including photography and film, twin collaborators Jane and Louise Wilson work around the themes of surveillance and call themselves 'dark tourists'. In 'Face Scripting: What Did the Building See?'. This film installation is based around the assassination of Hamas operative Mahmoud Al-Mabhouh by Mossad agents in a hotel in Dubai, in January 2010, and addresses the use of facial recognition in CCTV. By painting black and white squares on their faces, they aim to confuse the detection process. 

   I believe that our practices both include the different ways that a building or ruin can be viewed, not just as a building but as something that lived and had its own experience of an atrocity. The Wilson's describe how they see a building as a body rather than a structure.

Uta Kögelsberger: Photography

    Researching artist Uta Kögelsberger, I completely drawn in by her night photography. Particularly 'Night Vision', 'Getting Lost' and 'Urban Myths'. 'Getting Lost' captures Kögelsberger’s failed attempts at getting herself lost in the wilderness, natural areas that are untouched. Kögelsberger used distress flares to create strips of light in a 'performative interaction with the landscape and as a marker for the of the impossibility of the notion of untouched wilderness'. 

   'Urban Myths' explores the fast growth of American cities located in inhospitable environments such as the swamps of Miami and cities surrounded by desert. The quality of light in these photographs resonate with that of my own night photography, from the colour of the night sky to the orange buildings illuminated by artifical light.

Hilla & Bernd Becher: Photography

    For more than forty years, the Bechers photographed disappearing industrial architecture around Europe and North America. These industrial structures included water towers, coal bunkers, gas tanks and factories just to name a few.

   'The grids were arranged to highlight the formal similarities of each structure' which were consistent all around the world.

   The obsessive repetition of these photographs and the overall sense of loss heavily resonates with my own photographs of the canal, both of our practices showing the remnants of a lost world.

Denise Hawrysio: Printmaking

    'Hawrysio removes the walls between her studio and the outside world by taking her etching plates into everyday public spaces, where she finds unique and unexpected ways of mark-making. The resulting prints tell stories of social interactions and her explorations of different situations.'

   Hawrysio: 'My intention to continue with imagery saturated in ‘imprint’ (the direct impression of objects or gestures) and ‘touch’ (the direct intervention of the artist) is strengthened by my engagement with critical conceptualism, both as an aesthetic attitude and as a political stance. For me, technique is primarily a means to an end.'

   'My work is informed by an engagement with critical conceptualism, both as an aesthetic attitude and as a political stance and the methodology I employ represents a bridge between conceptual based work and more traditional forms of printmaking.'

   Hawrysio takes her printing plates out into the world to explore notions of 'place'. The lack of control that Hawrysio has over the outcome of her prints resonates with that of my glue drawings of the canal buildings because of the fluidity of the hot glue. I have control over my hand movements but not the movement of the glue once it touches the metal surface.

Matthew Barney: Drawing

    In his ongoing series 'Drawing Restraints', Matthew Barney uses various restraints, such as physical resistance and obstacles to make marks, which will eventually become a drawing. However, the outcome is unimportant compared to the journey that Barney's body has been on to create these drawings, which in a way is very performative.

   Barney's artistic practice 'may be best understood as ‘an endless loop between desire and discipline’, a characterization that comes from the artist himself. Barney’s early works functioned as systems designed to ‘defeat’ the challenges of drawing: thus the restrictive harnesses and ramps of Drawing Restraint 1 (1987), which left the artist stretching or groping to set pencil to paper.' 

   'Barney' often likens his actions to those of a competitor who uses resistance training in order to build up muscle groups. In a 1990 text titled ‘Notes on Athleticism’, the artist describes this hypertrophic process, concluding: ‘THE ATHLETE IS THE ARTIST’... such tropes point to the fact that the body and its tribulations are central to his practice – and that his thoroughly Postmodern work furthers one of the oldest art-historical traditions: figuration.

   While experimenting with drawing using a glue gun, it has been useful for me to research how other artists have experimented with randomness or constraints and what meaning that can bring to a drawing. For me, the fact that I cannot completely control the outcome of my drawings is a constraint.

Claude Heath: Drawing

    'Claude Heath's drawings have followed touch as it reveals hidden objects, how sight travels over plants, where three-dimensional experience is compressed onto flat paper. He has also drawn out human interaction and the movement of water with haptic 3D drawing systems.'

   'When you follow the movements of a football across a flat TV screen you sometimes have the sensation that the ball is going in a certain direction when it turns out to have a different arc altogether and ends up at the feet of a different player than you had first thought. Its true movements are hidden by the flatness of the screen until it arrives at some particular part of the pitch. This same kind of sensation sometimes happens while drawing, when you attempt to compress the sight and touch of a solid object onto various parts of a flat surface.'
   'Working from plants now, it will also be interesting to see whether it is possible to set them down just as they are, but as if rendered by a three-dimensional computer programme that has taken a holiday from mathematics.'

   I've always thought of drawing as being looking at an object and trying to copy that on paper, so after researching Claude Heath's artistic practice I was introduced to other ways of studying an object and drawing it, such as Heath's method of blindfold drawing and using his other senses such as feeling an object and trying to draw what he feels, which has taught me not to limit the way I draw by only drawing what I can see.

Cornelia Parker: Installation

    I find that my practice not only resonates with Cornelia Parker's use of the shed but also the historical aspect of her work. Parker describes how she accumulates things from different people's sheds or car boot sales, suggesting that the belongings of your shed show a glimpse into your life, like how some people have well organised sheds and some are just a mess. People put into their sheds all of the things that they don't want to throw away, whether it is something that can be reused or something that you just can't part from. Parker describes 'Cold Dark Matter: An Exploded View' as a frozen moment, like standing inside a still explosion. The term 'an exploded view' refers to the image in an instruction manual which shows you how the different pieces should fit together.

Anne Hardy: Installation

   In her piece ‘Cell’ Hardy’s indoor scenes packed with a variety of carefully placed found objects, pointing to the theme of obsession and hoarding. Her use of artificial light adds a sense of confusion or surrealism, taking away any sense of time.

   Rather than being experiential pieces for viewers to interact with, most of Hardy's artworks are large printed photographs. Instead of a first-hand experience of the space that Hardy has created, the viewer experiences the artwork as an observer, described by critics as looking through a window at these spaces.

   Looking back at the photographs that I took of my plastic sculptures in my shed, I do see a resemblance between mine and Hardy's practice, as the viewer is not in that space which is something that I have had to experiment with in my practice due to the Covid-19 pandemic, by taking photographs of my sculptures in specific sites such as the shed.

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Thomas Demand: Photography

   Demand's practice began with creating sculptures made from paper, it was only when he started to document these through photographs that he began to experiment with photography. By 1993, he was making these sculptures with the purpose of being photographed and presented as huge photographic prints. These paper sculptures are derived from images of political events sourced from the media, which he later destroys after photographing them.

   I see a number of elements in Demand's artistic practice that resonate with my own, mainly the way that current worldwide events play a part in our work, but also the quality of lighting in our photography. Artificial lighting plays a significant role in our photographs, creating an eerie and surreal atmosphere.

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James Casebere: Photography

   James Casebere creates miniature models of various structures which he then photographs, creating the illusion that these are full-sized buildings. His photographs 'explore the relationship between sculpture, photography, architecture, and film'.

   A recurring theme in Casebere's work is that of abandoned and derelict spaces, addressing the increasing threat that climate change has on our future. 

   Both Casebere and I portray our concerns with the environment and the future through the emptiness of derelict buildings, no humans in sight. The message that Demand wants to get across resonates with the meaning behind my work, as well as the contrast between light and shadow in our photographs.

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Hiroshi Sugimoto: Photography

    Sugimoto's photographs of drive-in cinemas and indoor theatres have a quality of eerie quietness. The blank screens suggest the absence of something and loss. The harsh contrast between artificial light and the shadows that it creates in the darkness resonate with the quality of light in my derelict building photography. There is something peaceful but unnerving about night photography which is something that I see in both our practices, especially the contrast between artificial light and the nature around it when photographing outside.

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Sandy Skoglund: Photography & Installation

   Sandy Skoglund creates surrealist images by photographing intricate life-size installations that she has built and brings in actors that she photographs living in these dream worlds. Much of her work includes the repetition of one object, such as fish in 'Revenge of the Goldfish' or eggs in 'Walking on Eggshells', something that I completely resonate with my repetition of ruins in 'Hereafter' and my recent plastic sculptures. Another example would be the use of a monochromatic colour scheme. The ruins in 'Hereafter' are all the same chilling dark grey colour and in my shed installation the only colour is the orange glow from the light.

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Rut Blees Luxemburg: Photography

    Rut Blees Luxemburg explores various urban landscapes through photographing them in the dark of light. These scenes are lit only by the artificial light of surrounding streetlamps and the glow from the inside of nearby buildings.

   There are a number of aspects of Luxemburg's photography which resonate with my own, the first being a similar quality of light and colour palette of yellows, oranges and greens created by the artificial light from streetlamps etc surrounding Luxemburg's subjects and the torch that I use to light up the subject in my photographs. There is also a sense of historical exploration of the places that we photograph in both our practices.

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Lindsay Seers: Installation

    Seers' piece 'Nowhere Less Now' (2012) was installed in a Victorian tin tabernacle which originally opened in 1866, the same day that Seers' great great uncle George and that of her own birth exactly 100 years later. This triadic relationship inspired her to explore these coincidences throughout her family history, leading her to discover much more.

   While in the process of deciding on a local disused building for my site-specific proposal, I came across a small boarded up church which was the first catholic church in Newtown, so looking at Seers' installation in a tin tabernacle of a similar size gives me an idea of how my installation might work in a building such as this. The way Seers has repurposed an otherwise disused building and works with the themes of history and memory really resonates with my exploration of the history of my home town.

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Edwina Fitzpatrick: Installation

    In her installation 'Terra', Fitzpatrick delves into the history of the use of terrariums to transport plants to different parts of the world. The terrariums appear to provide a flourishing environment for the plants, however, they are 'unhealthy environments which stunt the growth of plants and arrest cross pollination and natural development', a metaphor for trapped communities and links to the Anthropocene. The theoretical side of Fitzpatrick's practice resonates with the climate and community issues that are apparent in my work and how these issues will affect our future.

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