•   Score/map 1  Pencil on Drafting Film,.  118 x 84cm. 

  •  Photo-collage (flattened walls) 

  •  Photo-collage (studio panorama)

  • FINAL STUDIO VIEWS

     

    THE RESOLUTION ....

    THE END OF THE BEGINNING

     

    THE 

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  • THE RESOULTION

    Now that I have completed the installation, the next phase of this project will be to explore the installation further through drawing, photography, and digital imagery. Although the 2/3D structure of the piece is resolved, I'm planning to continue to experiment with both kinetic and still light sources to further develop the haeceitic nature of the installation;

    A haecceity is a specific configuration of relations that is individuated not through an absolute location in a space-time experienced of thought as a totalised whole, but rather through the relations themselves.’ - Tamsin Lorraine

    During this build, I have become especially interested in the dual relationship between the work as a 'real', immersive installation, which I and those that visit my studio experience, and the work as it exists as an online 2D 'virtual' space to be experienced through multiple, curated views as ‘delicate milieus of overlapping perspectives,’ – Gregory Flaxman.

    Subsequently, I have been working concurrently on a 2D drawing which I instigated not only to help me consider the temporal-spatial relations between individual forms, but also as a way of visually expressing/documenting my experience of the space as I built it, and, my continuing experience of creatively engaging with the work – a wayfaring rather than cartographic representation. 

    I would like to further explore the 2D representation of the installation through a series of experiential ‘maps’ encapsulating the various temporal-spatial relations from within and without the installation, looking especially at scale, movement and framing. I’m also interested in exploring the aesthetic execution of the drawn forms, influenced by various methods of mapping techniques and ethnographic cartographical systems, traces, thread and surface relations. This would naturally lead to a consideration of the mode in which the drawings are engaged with in terms of how they’re viewed and handled within ‘real’ space and time. 

    Babyforest and I will keep you posted with a special ‘revisit’ towards the end of the year! 

    Chloe Leaper.  August, 2016


  • The Matrix deals with multiplicity, plurality, partiality, asymmetry, alterity...processes of transformation of several elements in co-existence, continual retuning at borderlines and limits, and thresholds between partial subjects in co-emergence.’ – Bracha Ettinger, Rethinking Borders 

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  • Metramorphosis is indicative of expansion and development rather than total transformation. It is ‘the process of change at the matrixial borderlines and thresholds between being and absence, memory and oblivion, I and non-I, a process of transgression and fading away...through this process the limits, borderlines and thresholds conceived are constantly transgressed or dissolved’ – Bracha Ettinger. ‘The Matrix...woven by process [of metramorphosis]...a de-centred field, a textuality, a texture, vibrating threads.’ – Griselda Pollock on Bracha Ettinger 

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  •  ‘As we are not able to grasp all at once that which, on reflection, we would deem to be continuous and infinite, we impose on this infinite a framework of space and time, according to each piece that we have isolated a finite spatial and temporal beginning and end, thus reducing the continuum to a series of static pieces separate in time and space from one another.’ – Georges Dupénois

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  •  Starting to bring 'plan' views into both the graphic score - map and onto the walls of the installation. I've been looking at the aesthetic language/traditions of 20th Century astronomic cartography, including its presentation in guide books. Following a conversation with artist Mahal de Man, I think this is the way I'm going to start to approach the visual delivery of my graphic score - map as it moves from compositional structure to 'resolved' piece.  

  • ''Recognizing the marks on the musical score, however, as notes and phrases rather than letters and words, they are taken to stand not for ideas or concepts but for the sounds themselves... Reading a script is an instance of cognition, of taking in the meanings inscribed in the text; reading music is an instance of performance, of acting out the instructions inscribed in the score.’                                                                                                                                                                                                                                                                                                                                           Tim Ingold

     

  •  'the script is read 'inwardly' in cognition, whereas the score is read 'outwardly' in performance.' - Tim Ingold.

    The script and score of form 6.

     


  • Unfolding the ocular relations between forms using visual alignments through space.

  •  Building this installation in my studio, as opposed to a gallery space necessitates a consideration of the relationship of process trace (physical, conceptual and linguistic) to the 'final' work.    

    '‘Though we say of the author that he writes, referring archaically to the result of his work as a manuscript, this is evidently the one thing he does not do. Of course he may use pen and paper to assist him in his deliberations. But this scribbling is just one of a plethora of activities entailed in composition, from talking to oneself to pacing the walls of one’s study, all of which are antecedent to the transfer of the completed work onto the printed page.’ – Tim Ingold, Lines A Brief History.

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    New Addition - Form 6... experimenting with a rotating form and considering displacing the shadow elsewhere....

  • I'm adding forms one by one to the installation space, and considering the space and inter-relationship between the forms as much as the forms themselves 'creating new continuities out of...intervals or disparities'. I'm mindful of Bracha Ettinger's theories of matrixial - transsubjectivity whereby there is a co-emergence of formal relations rather than a separation of forms (see The Matrixial Borderspace if interested, its a great book!)

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  • Here is the first form. I'm terming these elements forms, as for me, they're visual ideas that have a sense of formal resolution, whilst not being totally nameable...c'est ne pas une pipe! They are permeable frames of possibility.

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  •  By joining the angles together, I created planes and volumes of triangulated space, after all, ‘The One engenders the Two, the Two engenders the Three, and the Three engenders all things.’!

  •  I began by creating a squared grid using the early numbers from the Fibonacci sequence – nature’s infinite irrational number series:  1, 2, 3, 5, 8, 13, 21, 34, 55. This provides a ‘finite framework’ from which I can create angles at the grid intersection points. These angles are the forms from which the entire installation will be generated.

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  •   Triadic Suspension 1 – digital print, dimensions variable.

     

  •  

    The conception and creation of this evolving installation will be governed by ‘a logic where the whole is not given but [is] always open to variation, as new things are added or new relations made, creating new continuities out of such intervals or disparities. In the unstable dynamic world in which they figure, images are therefore no longer defined by fixed divisions between inside and outside.’ – A.Boyman

    Through a process of perpetual retuning, improvised ‘forms’ will overlap and co-emerge as a collective refrain. Systems of vibration, interval, echo, graft order onto the delicate milieu of a deterritorialised texturology.

  • Three Point Exrapolation 1                                                       white acrylic ink drawing on drafting film                   overlaying a tracing paper tonal print background              51 x 82 cms

  • Triadic Suspension 3     digital print   dimensions variable 

  • Triadic Suspension 2    digital print     dimensions variable 

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  • Three Point Extrapolation 2                                                                   white acrylic ink drawing on drafting film                                             overlaying a tracing paper tonal print background                             50x70 cms

     

  • Three Point Extrapolation 3                                                                                 white acrylic ink drawing on drafting film                                                           overlaying a tracing paper tonal print background                                         51x82cm

  • Three Point Extrapolation 4                                                                                   white acrylic ink drawing on drafting film,                                                           overlaying a tracing paper tonal print background                                           54x72 cms

       



  • Architecture would be the art of introducing intervals in a territory in order to construct frames of probability - Bernard Cache

     

  • Film: Triad 4    sculpture and moving light source   duration 00:01:32.

    Sculpture: Triad 4   wood, paint, masking tape, ink   92x52x32cm (wooden structure 86x23x32cm)

     

  • Film: Triad 3   sculpture and moving light source    duration 00:01:23.

    Sculpture:  Triad 3    wood, paint, masking tape, ink    69x79x28cm (wooden structure 69x27x28cm)

     

  •  Film: Triad 2   sculpture and moving light source    duration 00:01:36.

    Sculpture: Triad 2    wood, paint, masking tape, ink.    69x59x21cm (wooden structure 60x27x21cm) 

  •  Film: Triad 1    sculpture and moving light source   duration 00:02:17.

    Sculpture: Triad 1    wood, paint, masking tape, ink  49x66x33cm (wooden structure 50x30x33cm)

  •  

    A real time evolution of an installation work extending Leaper's exhibition into the sharing of her process and methodology whilst exploring and building a new piece.   Live up-dates, film clips, interviews, images, thoughts and musings will be posted regularly until June 30th, while work is in progress. Check back regularly to view the evolution of this work. 


  • TRIALECTICS 

    The Real Time Build of an Installation         

            

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  •  

     


    The One engenders the Two, the Two engenders the Three, and the Three engenders all things.’ – Tao Te Ch’ing

    The One engenders the Two, the Two engenders the Three, and the Three engenders all things  – Tao Te Ch’ing



     

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  • A haeccity is a specific configuration of relations that is individuated not through an absolute location in a space-time experienced of thought as a totalised whole, but rather through the relations themselves                                                                                                                                                                                                                                                                                                                                                     Tamsin Lorraine

     

     

     



     

  • Triadic Flight Deconstructed.   digital print, dimensions variable

  • Triadic Flight.   digital print, dimensions variable.

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  • Things are either devolving toward, or evolving from, nothingness...And nothingness itself – instead of being empty space... is alive with possibility – Leonard Koren



     

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  •  Triadic Suspension 4   digital print , dimensions variable




  •  Attuning ourselves to life-as-becoming requires disorientating from established spatial norms in order to attend to spaces unfolded in the play of movement. But if we are not to destroy ourselves in the process, it also requires that our smooth spaces be created from the ametrical space-times of an open-ended humanity that we can unfold together. - Tamsin Lorraine

    

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  • Triadic Texturology 1    pencil drawing on drafting paper     82 x 142 cms

  • Retuning opens onto acoustic, sonorous, and tactile potentialities that themselves move beyond the limits of bodies and the boundaries between inside and outside, suggesting wavelengths and frequencies that resonate and come into and move out of connection without ever having been completely held or lost  – Griselda Pollock

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  •    Every milieu is vibratory....a block of space-time constituted by the periodic repetition of the component –                                                                                                                                                                         Deleuze and Guattari



     

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  • Scroll right to view this exhibition  ----------> 

  • 

     Triadic Texturology 2.   pencil drawing on drafting paper   82 x 121 cms 



     

     

  • Film: Fan 3   sculpture and moving light source   duration 00:01:44.

    Sculpture: Fan 3   wood, paint   dimensions 67x38x16cm

     




    Sculpture: Fan 3; wood, paint. Dimensions 67x38x16cm




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    Sculpture:  Fan 3; wood, paint. dimensions   67x38x16cm



  • Film:   Fan 2  sculpture and moving light source  duration 00:01:27

    Sculpture:  Fan 2  wood, paint dimensions   97x25x34cm

    .Sculpture: Fan 2; w

  • Scroll right to view this exhibition  ----------> 

  • All things are incomplete. All things including the universe itself, are in a constant, never ending state of becoming or dissolving. Often we arbitrarily designate moments, points along the way, as 'finished' or 'complete' - Leonard Koren



  • Film: Fan 1   sculpture and moving light source.    Duration 00:01:22.

    Sculpture:  Fan 1:  wood, paint    63x48x14cm

     

     

    Film: Fan 1; sculpture and moving light source. Duration 00:01:22.

    Sculpture: Fan 1; wood, paint. Dimensions 63x48x14cm

     

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  • StStudio Shot:    Sculptures Fan 1 2 &3  

     

    Captions


  •  

     

    A frame’s appearance marks a separation of it from its environment, but a properly permeable frame will not demarcate a rigid boundary but open an interval...a ‘frame of probability   – Paul.A.Harris





  • Organic life – including human life – requires sustained patterns where spatial  relations are repeated.  - Tamsin Lorraine

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  • Trialectics continues Chloe Leaper's examination of psycho-spatiality as an experienced condition of connection, disconnection and flux. Through a provisional articulation of spatial planes and volumes that 2D and 3D linearity provides, Leaper explores systems and conditions of spatiality such as: framing, thresholds, repetition, porosity and permeability.

    The philosophical milieu of Leaper’s practice examines the dynamic coexistence of matrixial and phallic systems of psycho-spatial structures: shifting and static, form and formlessness, ideal schematics and limitless multiplicity. 

    Leaper considers finite frameworks which, although necessary for functioning within our collectively perceived reality, can be limiting and restrictive - fostering experiences of separateness and singularity. She operates within a borderspace where these single-subject structures meet and coalesce with the intersubjective relations of the fluid matrixial plane.

     

    Real Time Installation Build: As part of this exhibition, Leaper will be  building an Installation in real time, sharing her process and methodology whilst exploring and building a new piece.  Scroll right - to the end of the exhibition to watch this piece evolve on a daily basis. Check back for daily up-dates.

    Explore further work from Chloe Leaper along with Biographical Notes  here

    Both original works and prints from this exhibition are available for sale here

     

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  •                                  CHLOE LEAPER

     

            TRIALECTICS

     

                                                                       matrixal mapping

                           folding frames...limitless limits...sustaining refrains                                    

                               incorporates the real time evolution of an installation work

                                    follow the build and check back regularly for progress