Now I can share with you the other work I made for Art in Public Places, named Linked Internal Space II. It is a further iteration of Linked Internal Space I, at the Substation Transit Gallery. This link to the transit gallery billboards is done through repeated imagined constructed architectural shapes, which spill from the wall to the asphalt below.
The work has a strong spatial relationship to the concave corner in a busy thoroughfare and emits a strong illusionary quality, which seems to flip as you pass. I am really interested in particularly how this work operates slightly differently to the billboards. Context is key. The billboards are elevated, and relate strongly to the architecture of the Substation and its environs. This work, however, I feel asks a question about context that I don’t quite have an answer to.
I’m so interested in seeing my work unfolding across all sorts of walls and floors in as many different contexts as I can arrange, yet when it is outside on a brick wall, which normally hosts tagging and leavers-of-marks, my work begins to touch the edges of graffiti. While my legal intervention operates in a different way to tagging, its context, away from the institutional space of a gallery and fully in the public realm, it seems to be taken down a notch. Is it art? Is it vandalism?
Linked Internal Space II (c) 2013 Naomi Nicholls
Acrylic, vinyl, chalk paint on wall and asphalt
Linked Internal Space II (c) 2013 Naomi Nicholls
Acrylic, vinyl, chalk paint on wall and asphalt
Linked Internal Space II (c) 2013 Naomi Nicholls
Acrylic, vinyl, chalk paint on wall and asphalt
Linked Internal Space II (c) 2013 Naomi Nicholls
Acrylic, vinyl, chalk paint on wall and asphalt
