Diana Lloyd on Diana Lloyd

I am interested in exploring the relationship between the materiality and perspectives of physical places and the experiences associated with duration, specifically of process, memory and intuition. Influenced by the theories of Henri Bergson’s Matter and Memory, which asserts that the nature of duration is always in a state of continual transformation that is never fully visible or tangible, I believe that the concept of process is integral to the installation itself. In the context of duration, I understand process as full of potentialities that may never be completely realised; that it is never completely grasped, but it is always certainly ambiguous. Therefore my install embraces such ambiguity by engaging with the contradictory themes of visibility and invisibility, and of materiality and immateriality through my specific use of sound, and through the mediums of found materials and journal entries derived from an edgeland site that I discovered and revisited over a period of twelve months.

I had clear intentions about the nature of the install, one of which was to highlight the process of constructing and installing itself. I intended to assemble the tarpaulin in a way that would drape and fold, because it relates to the fluidity, ambiguity and sense of movement inherent in durational process, and I chose to decide how I do this on the install day itself. For me being flexible in the creative process of the install invited more interesting possibilities than if I had already planned and fixated on a specific method prior to install. I feel that suspending the muddy tarpaulin from the wall and ceiling was the most effective method and it could not have happened in any other way than by enabling the install day to be open to many possibilities in the first place.

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Furthermore, I chose to keep all of the string used to suspend the tarpaulin (and also hanging down from it) visible, because it too demonstrates process itself. I extended one of the string pieces down to the ground connecting it with the found piece of wood at an angle on the floor, suggesting in a vague diagrammatic way, one of the many perspectives that time could be experienced through duration. Using the wood in this way also has gives appearance of anchoring the floating tarpaulin, whilst providing a necessary formal structure within the installation’s composition.

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I created differing tonal photocopies of both the grass and soil and of the intentionally illegible handwritten journal entry extracts about my recent site visit, alluding to the repetitions and rhythms of duration, and the unstable reproduction of memories that are always changing. By scrunching up these photocopies into different forms, they become simultaneously images and objects. It is less clear what is 2D or 3D, and what is a subject and an object here. The photocopies were crumbled and scattered on the floor alongside the soil and grass in different directions again referencing transformations and multiple, simultaneous perspectives experienced in duration.  On reflection the installation would look more effective if I had covered more of the installation space with crumpled photocopies and mounds of earth, because it would look more unusual.

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Finally, as duration concerns itself with the abandonment of linear time in favour of the use of the senses, leading to intuition, I was curious to experiment with sound for the installation. This is a specific sound of banging on a door, which I reproduced, that is both discordant in its nature and in relation to my experiences of the edgeland site within the installation. This sound and its associated memory for me evokes a feeling of fear and another type of uncertainty or ambiguity, because it is unclear in the installation who is banging on the door and why. The sound was played continuously on a loop and was a durational experience in itself, where over time members of the audience became increasingly disconcerted and annoyed as they heard this sound within the gallery space. I had underestimated how powerful and effective this sound was and this is something I may develop further in a future installation.

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