For Air-Lixir the artist temporarily converted the AirSpace gallery into a micro-winery to produce ten gallons of Mead (honey wine). With an interest in how the changing smells of fermentation would be experienced within AirSpace, the artist also introduced an accompanying smell of honey, circulated within the gallery via diffusers. Jars of honey (a surplus from that used within the Mead production),stacked in a pyramid form, give a physical presence to the airborne honey oil. Produced an on plinths the Mead was sampled at the preview. Extending the artists interest in conceptual connections between the fields of scent and music, an accompanying soundtrack list and score titled, Twenty-One Songs (For My Honey), included songs (1963 – 2015) all of which containing the word 'honey' in the title. The works title, Air-Lixir, references the panacea of the original mythical elixir, as well as the transient airborne nature of both sound and smell.
Mead (honey wine), carboys, airlocks, plinths, jars of honey, soundtrack sheet (A1), speakers, music, diffusers, airborne honey oil.
A Clearing (2015)
A Clearing is the result of a re-imagining of the origin of Bideford Black (a naturally mineral black pigment occurring in Bideford and other part of the world and used prior to synthetic dyes) - Tree Fern forests of the Carboniferous period - via the medium of smell. Subtle variations of this scent composition (collaboration with Clare Rees), based on accords of: Wood, Green, Earth and Petrichor, and inspired by visits to Bristol Botanic Garden and Kew Gardens, are transmitted, via stainless steel drums brimming with the Black material, into the gallery space. Through its presentation the work references historical commodification of mineral black as well as the global commercialisation and transportation of generic raw materials in general. The works title, A Clearing, makes reference to ancient Tree Fern forests (the origin of the materials creation) and de-forestation processes, whilst also alluding to a clearing of the air.
Scent accords, etched stainless steel drums, pallet, stretch wrap, mineral black, diffusers.
In Equal Measure (2015)
In Equal Measure is the accompanying piece to, A Clearing (2015). Three etched glass bottles represent the invisible air-bourne scent accords transmitted into the gallery. Apparently empty, each bottle in fact contains three pipette drops of the liquid scent accord. Etched dashed lines around the central circumference of each bottle - subliminally referencing spatial borders (to which smell refuses to adhere) and musical staves - differentiate the three separate accords within. The base accord (Wood, Green, Earth and Petrichor) is marked by a single etched line, the second deeper accord (base + fungi) includes a second line below the central line, and the third lighter accord (base +floral) includes a second line above.
Scent accords, etched glass bottles.
Limited edition /3
Sniff Disc (2014)
Sniff Disc is the result of a transformation a concrete poem (Two Sun Spots, by Simon Barraclough) into smell. This resulting work was presented at the Southbank Centre, London, UK. The scent of Sniff Disc is composed of five materials, one to represent each line of the poem. These are, Iron, Opium Poppy, Orange , Cedar Wood , and Leather. Sniff Disc references connections between the fields of perfumery and music, which share common vocabulary (e.g. composing, notes, and chords). Its fabrication references fragrance blotting strips, whilst the design borrows the LP record's format of disc, sleeve and cover. In a literal translation the scents materials are listed by both their common and Latin names appearing as though song titles on a record on side b). At five centimetres in diameter the poems text reduces in size until illegible, its words seemingly dissolved at its epicentre in a single drop of liquid scent.
5cm, 5cm, 3 mm.
Limited edition /60