The artist with his/her, husband/wife, son, mother/father.
1990 - Yorkshire Art Space Society, Sheffield.
This piece only happened the one time - it would have been impossible to repeat it to be honest. It was as lo-fi as you could get and quite poor in construction values... Partly this was intentional, an anti-art stance if you like, but partly because at this time I was without a studio and was working in the cellar at home which was a bit dingy and cramped. The work had to be collapsible or akin to flat pack furniture, or at least be able to bend around the cellar stairs. I think there was also a sense of 'performance' or at least forced active audience participation (seen in Tread Lightly and Wingers in Heavy Boots...) I mean, the audience had to be pretty dexterous to get into this installation in the first place. Once inside the space, it was a case of stepping over and under flimsy structures, picking your way carefully around a series of strange towers, ramps, barriers... Plastic, carpet, cardboard, toy animals, flickering lights, slide projections, tape loops... It was the antithesis of accepted aesthetics in some respects. It teetered on the edge of being absolute rubbish - metaphorically and literally.
Setting it up was over a long day and even longer night. How do you plan to curate and set up something like this!
The preview was also interesting... I hadn't really thought about a large group of people being able to get into the piece at the same time... Still, Catherine had specially made a load of 'sculptural biscuits', which kept people happy as they waited to step into the piece.