KARTONHAUS ADJUSTMENT 1

The work is an element from a larger series of 'Kartonhaus' interventions. A previous iteration was assembled and installed in a studio-apartment in Austria. It was a remaking/ activation of a living-working environment and I was much influenced by the architect Margarete Schütte-Lihotzky and the living space she designed and made for herself in Vienna.

 I work with collected cardboard boxes and objects as a temporary material that pass between public and private space. I have been using the boxes, which are resourced around cities and then re-cycled, to adjust and articulate ways I move about domestic architectures.

I am particularly interested in how women create and construct their own space.

My approach is a product of where I spend time, how I move about space, where I do things from one 'station' to another. I assemble my thoughts. I term these as 'habitation procedures'. I use them to make adjustments to how we exist in interior spaces and respond to how social space constructs us.

In this instance the current install at Beuys cafe is an adjustment and transposition of the Kartonhaus developing in my studio-space. The cardboard structure is a fragment taken from a work being developed in my studio which continues to take form.

It is not a response to Beuys directly, but inevitably I think the elements in the space set up dialogues and speak to contexts - whether from a gendered position or an historical perspective.

At Beuys Cafe the structure is dis-assembled and re-assembled, laying one place over another to alter the spatial flow - to shift the emphasis from the main wall to form passages we move through. At the same time attention is reoriented to our peripheral vision and perception.

The install is perhaps part reconstructed domestic furniture, part bureau (with a chair, table and so on), like an archival, organisational structure to house and filter... using sight lines and viewing portals, mediated with cylinders and cut-outs, with gaps, absences, spaces underneath and compressions.

I tend not to think of works as having a beginning or an end but rather a trajectory or journey. I focus on the interconnection and process of making, [and this as a moment]

I consider Holding ground.