Aylwin Greenwood-Lambert

Aylwin Greenwood-Lambert


My current practice grew from a weariness of the first – I had become bored of using objects as symbols with which to pass ideas to an audience - it was the objects themselves and the very fact that they could be used in this manner that interested me. What could be communicated verbally was abandoned and focus placed on an “attempt to understand the relationships that exist within the network of physical and abstract elements comprising (objects)” with an “intuitive logic” being applied in deciding how to interact with each object in order to accentuate these relationships. Decisions were kept to a minimum and interactions made as visible as possible, the hope being that an audience would be able to see the processes of production and understand the new objects as intended.


Recently this framework has undergone changes. The bending and breaking of certain rules has become necessary in order to prevent these constricting possibilities and making my practice formulaic - their removal has allowed fresh ideas to enter and for methods to be tested, stretched and developed. The primary focus itself has shifted to how meaning and aesthetics arise within an object and with increased frequency the process of making is driven forward by using function as a Macguffin. Simultaneously the breaking down of rules has meant that the variety of functions used as starting points has begun to expand and now includes deliberate attempts to transmit meanings to an audience. However this is done in a spirit of roleplaying and experimentation – it is the mechanisms of transmission that are of interest. These changes have led to uncertainty flooding into my practice, both opening up new areas for exploration and forcing a greater confidence in decision making, something that has been strengthened by the recognition that what was being referred to as intuitive logic is more likely to be incubated knowledge manifesting itself tacitly.


There is also a new acceptance that the previous desire for an audience to treat the objects produced in a specific manner left these open to the failures and misunderstandings inherent in things whose production is the result of an attempt to understand the very mechanisms by which they are then expected to operate.  Each object is a physical artefact resulting from a line of enquiry and the viewer can at best be expected to act as an archaeologist would, attempting to simultaneously piece together enough of an understanding of both an object and the situation within which it was produced in order to gain some level of insight.


This statement is intended to make the objects produced accessible but it is hampered by the limitations of language and by its existence as a mere snapshot of something which is fluid – it itself can only ever be another artefact. Furthermore it should be noted that the descriptions given of the beginnings of this practice and its recent developments are facts that were primarily realised after the event so no doubt there are omissions about things currently happening within my practice that have yet to understood or even recognised. 

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Location Nottingham, East Midlands
Activities Practice-based research
Artforms / type of project Book Works, Film & Video, Photography, Sculpture, Text
Tags Object, Thingness, Function, Meaning, Metaphysics, Process, Aesthetics, Conceptual, Objecthood
Website http://www.greenwood-lambert.co.uk

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