Tuesday, 16 January 2007

Springbok Stilts, October 2006 to January 2007


Final image: Springbok Stilts worn at Meggatland Rugby Pitch, 13th January 2007.
Construction and Process:
Photographed in studio October 2006.
Stilts: 246 cm tall, 43 cm wide (at the widest part of the thigh),
29 cm deep (at the deepest part of the thigh).
Welded metal bar and metal plate for foot support.
First attempt at wearing the stilts, 16th November 2006, in studio.



Kilt’, photographed in studio 11th January 2007.
To be worn with Springbok Stilts, hand made from strips of tartan.
Kilt: 72 cm long, 38 cm wide, 21cm measured around waist from side-profile.



'Springbok Stilts':

‘Springbok Stilts’ explores the idea of a woman’s wish for long legs, and the perception of these as desirable. I was heavily influenced by South Africa and questions relating to my own identity, sparking research into associated themes of gender, nationality and perception.

Monday, 15 January 2007

Drawings: Springbok Stilts, January 2007



Charcoal on paper.




Charcoal and white pastel on paper.










Collage, pencil, ink, charcoal and white pastel.

Sunday, 14 January 2007

Installation, 27th October 2006


Project Space Collaboration: Projections by Jo Murray and 'Springbok Stilts' by Fiona Pender.


















Installation:This instillation was a collaboration in which two individual works came together in a unified environment.
My ‘Springbok Stilts’ had already been created to be used in creating a separate work, however when the opportunity arose I decided to use them in the project room. I wanted the stilts to tackle the space they were in, hence why I had thought of lowering the ceiling so that the stilts could pierce through it into the unknown space above.
Jo had been filming in an old world war bunker in Fife, and was also keen to lower the ceiling in order to re-create the enclosed environment he had been filming in. It was also important to his work that the room be completely dark, technically it strengthened the quality of his projected films as well as echoing the enclosed feeling and the darkness of the bunker he had filmed in.


The two separate works complemented each other aesthetically and the sounds from Jo’s films added another dimension to the space, culminating in a work which was rich in symbols and meaning.

Friday, 12 January 2007

Drawings for 'Skipping Masks', 2006 - 2007


Pencil, black & white watercolour paint, black pen, charcoal, white dry pastel, colour photograph.
Height: 59cm, Length 84cm.





Black pen drawing, white paper.
‘Collage’: Height: 56cm, Width (at widest part): 30cm




Black pen drawing, white paper.
Height: 29cm, Width 42cm.




Black pen, pencil, watercolour and dry pastel.





Tuesday, 2 January 2007

Skipping Masks, October - November 2006

'Skipping Masks', worn in studio 27.10.06.







'Skipping Masks', worn in meadows 12.11.06.




Skipping Masks:
Creating a piece which connected people was something I had been interested in as I was reading about the social relationships within African tribes. I found the inter-personal relationships fascinating, especially their use of secrets as a way of gaining status by advertising this knowledge through the d├ęcor on their clothing. The subject of the secret is not of prime importance; it is the fact that you know something others do not that elevates a person’s status.


These relationships made me think about similar social groups in the Western world, and I could relate this idea back to the suburban housewives gossiping over the garden fence. The ‘ringleader’ of one of these social groups often being the first to know everything, and the status of the other housewives is determined by whom she will share this information with.

This lead me to create ‘Skipping masks’, each mask is made from an apron, and joined at the chin by a piece of material referencing a skipping-rope. The wearer’s face is entirely covered apart from the mouth and the skipping rope, which, when used, represents the two individuals engaging with one another or exchanging information. A skipping rope is also something I associate with suburban life-style and children in the area playing outside. This is deliberately a feminine piece, and wearing it instantly creates a relationship between two women.