Rosemary Laing

Foremost in my mind are ongoing questions of how to continue to navigate issues of representation at this point in time. My speculations have revolved around how to make images which mark and map our perceptual relations to the technologically ailed momentum of the late 20th century. Rapid transitions from here to here and from now to then have a tendency to obscure or blur whatever is in between, confronting us less with a memory of presence, than the experience of never being present, never static, always rather betwixt arrival and departure, and under the intensity of velocity and transmission.

My activities have necessitated the trespass into zones occupied by the possessors of the architectures and apparatuses associated with the accelerated geographic transit of jet planes – both commercial and Air Force. In ‘Greenworld’ the familiar landscape view is ruptured, aerialized and re-translated as thousands of points of electronic information. It pictures a terrain flown over by aeroplanes and punctured by invisible passages of information-in-transit. ‘Brownworld’ has been a consideration of how to conceptually unravel notions of labour and intention – in which technical invention, information and the momentum of proposed motion become inextricably linked.