My solo exhibition of video and installation is on show at the Contemporary Art Center of South Australia Project Space 4th – 21st Dec 2014 & 12th – 25th Jan 2015. For those who can’t get there you can read the catalouge essay below and view some pictures….
Photography by Sam Roberts
Essay By Serena Wong
With the aid of light and colour, Jemimah Dodd’s Dollop Kingdom is a playful leap into the gap between reality and imagination. The dichotomies of reality and imagination, separated by our inherited Enlightenment-born logic, are brought together here in a collision of material and form. Embracing a hand-made DIY materiality, this installation is built from chicken wire, expanding foam, MDF, plaster and projectors. Yet these physical component s are, in a way, beside the point. Or rather, only one point. Continuing her investigation into the relationship between light and material, Dodd’s work centres on unexpected transformations created when form is moulded by luminescence.
It’s hard to overstate the importance of light. It is intangible, yet fundamental to our existence. The light from the sun for example, is not only intimately involved in producing oxygen, but it also regulates our bodies waking and sleeping cycles. In ways that aren’t completely understood, our receptiveness to luminosity is hard wired into our brains. Light allows us to see, yet it also controls our perception. Manipulating it can change whether we understand something as clinical or dazzling, amorous or dim. Yet, despite its insubstantial nature, light (and shadow) inform how we perceive the environment around us, it illuminates and sculpts surfaces and objects, almost without us being aware of it.
Mining the malleable nature of light and colour, Dodd persuades us that her work can be stationary but transitory, touchable but insubstantial. Using footage made of mixing colours in her bathtub, Dodd projects vibrant colours on a massive scale, onto the amorphous DIY-handmade forms that cover the walls and spill onto the floor. In a contradiction of material, the forms, which look like icing but are hard and clinical to touch, are made inviting and warm through light and colour.
In covering these gooey looking forms with projections of vivid oozing colour, Dollop Kingdom becomes a spectacle of material transformation. The sensation of watching viscous dollops of colour run down the walls that envelope the space is visceral. It changes, not just the space, but the experience and understanding of it. When art can leap out of materiality, when matter can resonate and become more than itself, Elizabeth Grosz writes, this is the key moment when the transmission of sensation from artwork, to the living body, and back into the world, happens.
Upon entering Dollop Kingdom, we are taken to a place of imagination, where we are explorers into light and colour. We can travel into space and conjure worlds that haven’t yet been discovered. To embrace this work is a chance to become an adventurer, to traverse into unknown corners of the universe, on a low-fi, handmade set. How long will we let ourselves suspend disbelief and travel down the rabbit hole?
1.Grosz, E. Chaos, Territory, Art: Deleuze and the Framing of the Earth, Columbia University Press, New York, 2008