Fine Art/Sculpture

2012
NEW WORK COMING SOON - . I am interested in the way human beings relate to their environment in very basic, physical and anthropological ways, with specific interest in domestic space and architecture. It’s much about amplifying the way human beings feel, engage and respond to their space. I’m currently considering the idea that our efforts to make the world increasingly easy to negotiate result in a less constant awareness of our own body, it’s movements, it's relationship to space how this effects our perception of ourselves and the mental processes we undergo in general life. I investigate this effect by making work which amplifies the relationships we do have and playing with the functional attributes of objects we negotiate and have contact with in our general lives.

Photo - Anthropological Territory by Lyndsey Searle, 240 x 240 x 150cm, various construction materials, graffity, PVC and pedals at 'Structure', CoExist Galleries, photo by Joe Lang.

Statement 2010
Physicality is ever present within my objects. I am interested in the nature of receptiveness and physical connection through representational, almost symbolic, and intuitive approaches. In relation to this my practice more specifically investigates the possibility of a portable objects ability to respond, interact or connect to its space/environment. Despite their scale all works are determinedly portable objects - they represent themselves as being in-flux with regard to place (often with wheels, G-clamps or handles) occasionally through a questioning of the plinth due to it‘s intermediate place between work and space. I believe to get to the very root of sense, physical experience and interaction the work has to refuse to relate to a specific place and in it’s own self-contained way indicate itself as being pliable, penetrable, absorbing, exploring or similar. The works I make vary from simply responding to universal forces such as gravity to liberally investigating the use of funnels, which have an innate ‘receiving’ attribute, orifices and vents (or even the holes in knits determine a work as being penetrable and so capable of interaction). The investigation is continued with the use of viscous syrup occassionally smeared over the forms, with this I am attempting to evaluate the role that viscous liquids may have - I suspect viscous liquids can have a ‘conduit’ function in that they form a more physical connection acting as a fluid extension of the form serving as mediator. I pursue greater understanding and to make increasingly inventive representations in relation to these issues. More recently I have been concerned with utilizing a slightly different language and fixing hazard beacon lights to my sculptures. This has been done as an exploration and extension of a sculptures ability to announce its own presence, I have tried to extend this natural aspect of sculpture with the use of the beacons so that the work more actively communicates with its surroundings, a beacon also in marking the sculptures space shares some merit with plinths and so there have become a number of related concerns which have founded an interest in the flashing lights and which I propose to further pursue in future work.