TATIANA SOUTHEY-BASSOLS

I am interested in the possible experiential dislocations arising from non linear perceptions of time. The essence of time lies beyond the often-external reduced definition of time that makes the world function. I want to investigate how interactions in time moulds our present perception. I used process of printmaking to reveal ‘micro histories’ of the materials used such as the burnt marks from laser etching, the wood grain, acid, grounds and tarlatan cloth, invoking a passage of time on a surface. The print is vulnerable to all aspects of the environment, many variables of which can only be controlled and finely tuned through repetition and intuition. The final print reflects a capturing and compression of time passed, making each print a memory of previous actions. The embossings take an ambiguous position between reality and representation. The traces in the print address a space between the depicted narrative of the image, material presence of the plate and the viewer’s spatial environment.  

My interest in duration led me to the program of a bowling green for people who are removed from society and experience time differently, relying on their own internal rhythm. Like the print going through the press, the bowling green is exposed to a process of erasure and creation within the uncontrolled undulation of the roughs, through compression in play and release in maintenance. The visitor’s trajectories of anticipation and desire leading up to the Bowling season are juxtaposed with the greenkeeper’s daily routine carried out to maintain the green throughout the year to create a high performance surface.