*Please scroll down for more images and information about installations and site responsive works*

           My installation and site responsive work

Most of my work doesn’t fit comfortably into any one category. The work shown on this page is here because I’m not quite sure where else it fits!  

Many of my knitted and stitched sculptures are installed or hung. Most of them, especially the knitted pieces, rely on tension and/or gravity for their form. It is thrilling working with soft materials like cloth and knitted fabric as it’s so flexible, in every sense of the word.

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                                                       Shroud, 2013, installed at Unravelling, October 2016

That cloth is an unconventional medium in fine art also adds to the meaning it conveys. Traditionally, hard, durable materials like stone, marble and bronze have been used for sculpture; the soft, impermanent nature of cloth, however, evokes the human form and its mortality, revealing alternative meanings in its folds and surfaces (Barnett 1999: 186) and seems to ‘take on a bodily resonance rather than to offer up symbols as such’ (Nixon 2005: 174). 

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                                                        All the babies I might have had I, felted hand knitting, 2010 
                                                        installed in an empty shop at Pattern, Fringe Arts Bath, 2016
                                                              As I installed it I felt as if I was stitching it to the room.

Choosing to hang soft sculptures evokes an abject response and can be very powerful.  An ‘empty’ hanging form suggests loss, absence and death. Hanging a sculpture also emphasises it’s ‘fragility and vulnerability’ (Larratt-Smith 2011). Louise Bourgeois asserts that the hanging thing ‘…is very helpless’ (in Nixon 2005:170) and ‘Hanging and floating are states of ambivalence and doubt’ (in Larratt- Smith 2011). It is clearly significant to her. I think the hanging motif distinguishes ‘very different identities for ... sculpture ... suggesting a kind of displacement’ (Barlow 1996: 9) which also adds to the feeling of abjection.

displace5 displace4
                                              My Heart of darkness hand knitted diptych is especially versatile.
                                Here are just 2 of the ways I've installed it. For more installations, see my Knitting page.
                                            Both of these were at [dis]place at The Vestibules, September 2017

Have a look at my Knitting and Stitch pages for more examples of how I have installed all my soft sculptures. 

Many of my soft sculptures are also site responsive. I’m always particularly keen to install my work in unexpected places; it’s exciting to see how some pieces of work can have so many iterations. Have a look at the following exhibitions especially: Privy, Bodies at The Unit Unravelling, Prilic, [dis]place, Window wanderland at 212 and several venues at Fringe Arts Bath in 2016 and 2017. Have a look at these pieces of work: Safety net, Shroud, Heart of darkness, All the babies I might have had I, Nobody 3.

 

And do have a look at my blog post Art in unexpected places? for more thoughts on this.

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                                                       Nobody 3 installed at Unravelling, October 2016

Nobodies and The others are installations too!

Synecdoche

                                              Nobodies, 2014, installed at Synecdoche, Embassy Tea Gallery, London, July

Lou Baker The others 2015
The others; a self portrait, installed at The Degree Show, UWE, Bower Ashton campus, Bristol, July 2015

I’m not really sure that all the parts of Displacement activity should be on this page either; Displacement activity #9: Sculpting with pill packets and a stapler could also be on the Stitch page, I think, and I’m not sure where Displacement activity #11: Collaborative drawing fits at all!

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                                                         Nobody 3, 2014, hand knitted wool, meat hook,
                                                                     installed temporarily in the toilets at City Hall
                                 during Synecdoche's [dis]place residency at The Vestibules, Bristol, September 2017

References:

Barlow, Phyllida, ‘The Sneeze of Louise’ in Cole, Ian, (ed.), 1996, Museum of Modern Art Papers, Volume 1 Louise Bourgeois, Oxford: Museum of Modern Art pp4-11 

Barnett, Pennina, 1999, ‘Folds, fragments and surfaces: towards a poetics of cloth’ in Hemmings, Jessica (ed.), 2012, The Textile Reader, Berg: London, New York pp 182 -190

Larratt-Smith, Philip, 2011, Louise Bourgeois, the theory and practice of psychoanalysis, Available from: http://arttattler.com/archivebourgeois.html [Accessed 6 November 2013]

Nixon, Mignon, 2005, Fantastic Reality: Louise Bourgeois and a story of Modern Art, Cambridge, Massachusetts and London: MIT Press

Multitude at PRILIC exhibition, Jacobs Wells Baths, Bristol, December 8th-16th 2017

Multitude is an installation of 11 of my life-sized stitched soft sculptures. Nine of them are suspended by meat hooks and chains from scaffolding 10 meters high, two of them are free standing. It’s the first time I have been able to install all of these sculptures together and it’s a dream come true! 

Multitude is made up of a couple of series of sculptures (Nobodies and The others; a self-portrait) a knitted diptych (Heart of darkness) and a single sculpture (All the babies I might have had II). They have been exhibited in various combinations over the past couple of years and in a number of settings and have received a wonderful range of responses – attraction, repulsion, horror and hilarity amongst other things. I have documented a range of responses to them here. 

Since I made the second series, The others, my vision has been to have a roomful of soft sculptures hanging close to one another so that walking through them becomes an immersive experience. Multitude is the closest I’ve come to this vision and it fills me with delight.

Jacobs Wells Baths was originally a Victorian swimming pool but has been a dance centre for the past 30 years and for the last couple of years it’s been a Community Arts centre. Several distinctive architectural features still reveal this astonishing building’s history; the tiled edge of the pool is still clearly visible, as are the remains of the rather primitive shower cubicles. The roof is arched with Victorian sky lights. The pool has been covered with a sprung wooden dance floor and at the far end of the cavernous space is a large dance mirror. Its semi derelict, dilapidated state is the perfect setting for my work. 

I have been interested in the idea of art in unexpected places for a while and have shown my work in a number of unusual settings over the past few years – The Edwardian Toilets, The Vestibules, at several venues as part of Fringe Arts Bath in 2016 and 2017, at Unravelling, at Bodies in The Arcade and in the window of Room 212. I feel that my work becomes something ‘other’ in a non-traditional environment and that showing work in unusual spaces adds meaning to it. 

Being involved in PRILIC has been an unexpected and thrilling ending to a busy year of exhibiting. I had visited the baths a couple of times since September oddly enough; once for Open Doors Day and once to attend an immersive theatre performance. Both times I’d thought it would be the perfect place to hang my work so when I saw a possible opportunity to exhibit there, I couldn’t resist. Much of my work makes public things that  are normally private, so the theme was also perfect. PRILIC marks the end of an era, as a public building is about to be taken over by a corporate, private leisure company.

I saw the callout the week before the show was due to start so there wasn’t much time to plan or to gather materials for hanging. It was a great relief to arrive on set up day and be ably supported by Karen Van Hoey Smith and Josh Ben Tovim, the organisers. Karen had the same vision that I had; the sculptures hanging from high scaffolding in front of the mirror, low down so people could walk through them. I hadn’t realised what a difference it could make setting up my installation with two experienced, thoughtful and skilled people helping. And fortunately there was a high scaffolding ladder! Maybe this is what it would be like to have technicians? 

Hanging my multiple sculptures in front of the mirror was magical; 11 became 22, a true multitude. I have been researching ways to use mirrors with my work recently so having the chance to try it out at PRILIC was wonderful. 

Ideally I would have liked to hang each sculpture from a long chain attached to the scaffolding but it would have been prohibitively expensive. Maybe next time? Instead we used the chains I already had alongside some steel wire hanging devices and it was very effective. The sculptures still moved randomly at times!

We set up the installation in daylight and I was delighted with it. However, at the opening party the following evening my work was transformed by the lighting. It was mesmerising. Directional light from footlights changed the sculptures into something dramatic and surreal and the soft light of tea lights added an atmospheric glow. It hadn’t ever occurred to me before to experiment with lighting around my work so this was a revelation and definitely something to explore further. 

The highlight for me was the dance response to my work by Josh Ben Tovim and Roseanna Anderson of Impermanence Dance Theatre at the closing event. Watch the video here. It was very poignant. As the dancers moved through the installation they swung the sculptures so that they too became part of the dance. Finding ways to make my sculptures move has been a big part of my process of making; I tried animatronics but actually found that when they hang some of the sculptures move randomly and spontaneously anyway. To see them move in this much more intentional and dramatic way as part of a performance was enlightening and inspirational. I have always regarded them as bodies in space with potential for performance and have worn them, so seeing them come alive in this context was thrilling. It makes me excited at the thought of what might be possible by collaborating with other artists, dancers and musicians in the future. 

Many thanks to all those involved in the setup of PRILIC. I feel honoured to have been involved, grateful for the connections I’ve made and the people I’ve met and delighted to have had the opportunity to experiment with my multitude in such a spectacular space. It has been truly inspirational and aspirational. Where next, I wonder?

Gallery of images of Multitude:

 

1-3, 34, 35. The dance studio at Jacobs Wells Baths
4-8. Preparing for setup
9. Setup
10-13. Multitude, daytime
14, 16. Labels for Multitude, blackboard paint and chalk
15, 17-20, 23, 24, 26-32. Multitude, night time
21. Detail of Nobody 1
22. Detail of All the babies I might have had II
25. Dance performance by Impermanence Dance Theatre, closing party, 15.12.17
33. ‘It’s all yours’, chalk on the wall in the dance studio at Jacobs Wells Baths after take down

  
Displacement activity at Synecdoche's [dis]place residency at The Vestibules, Bristol, September 2th -29th 2017


Displacement activity 

Noun:

a human activity that seems inappropriate, considered to arise unconsciously when a conflict between antagonistic urges cannot be resolved.

I am a compulsive knitter. I had expected to spend any spare time during this residency knitting but unfortunately, probably as a direct result of this obsession, I have had tendonitis in my left wrist so has had to stop, for a while at least.

Knitting is like breathing to me. I normally have some knitting with me and I knit wherever I am - on buses, on the beach, in the park and in the pub. It has a meditative quality about it; it calms me and helps me focus. Also, as I generally knit large pieces, I need to knit whenever and wherever I can in order to get enough knitting done.

Without it, I am bereft. 

So, for this residency I have been spending my time on what I'm calling my displacement activities:

- responding to the spaces by experimenting with a series of temporary installations and interventions  

- writing down comments and conversations that I have had with visitors and my reflections on that feedback 

- documenting the residency by photographing the ways that the spaces change with time

Here is a presentation of part of the documentation of the work I did during this time.

Displacementactivity

The displacement activities are: 

Displacement activity #1: Pill packets and Post-its 
Displacementactivity01

Displacement activity #2: Mobile soft sculptures
Displacementactivity02 


Displacement activity #3: Roaming sleeping bag
Displacementactivity03
 

Click to watch a video of Displacement activity #4: Drawing in space with elastic …. (and a monkey) 

Displacementactivity04


Click to watch a video of Displacement activity #5: Helium balloons
Displacementactivity05
 

Displacement activity #6: Helium balloons and mirrors 
Displacementactivity06

Displacement activity #7: Look up, look down
Displacementactivity07 

Displacement activity #8: Pill packets and hair
Displacementactivity08 

Displacement activity #9: Sculpting with pill packets and a stapler
Displacementactivity09 

Displacement activity #10: Shadows, light and reflections
Displacementactivity10

Click to watch a video of Displacement activity #11: Collaborative drawing 
Displacementactivity11


Click to watch a video of Displacement activity #12: Projection 1
Displacementactivity12.1

 and click to watch a video of Displacement activity #12: Projection 2
Displacementactivity12.2


 
Have a look at the documentation of Displacement activity here. 


Read about Safety net at The Vestibules - I set it up and left it to do what it does for the 4 weeks of the residency. Here is a video showing how one participant responded.

#whatdoartistsdoallday #everydayisdifferent

@loubakerartist