Energy Maps - solo show @ DEMO

Contextual Statement

Informed by my sensory experiences, Energy Maps explores push and pull energies experienced from the earth. While these subtle feelings can be explained by science, here they are explored through material processes.

These intuitive works respond to my curious attractions to certain places, geolocation, and quiet, persistent psychic nudges. They talk about the Kaipara District - specifically Kaiwaka and the surrounding limestone environments.

Limestone is diamagnetic which means that magnetic fields do not interact with it, or only weakly. I see this as a 'push energy'. Magnetoreception is a sensory perception responding to magnetic fields, or perhaps a 'pull energy'.

Limestone environments bring about a feeling of calm and act as a counterpoint to the pull energy of being attracted to particular places. It was this 'pull energy' that led me to Kaiwaka in late 2019.

The works are made with mixed media processes and rock stock paper.(1) The materiality of the substrate mirrors the limestone as both are formed from calcium carbonate. The materiality of surface and the idea collide.

Through capture, trace and a just-below-the-surface awareness, earth is given agency - mediated through the materiality of painting.

(1) The rock stock paper is sponsored by B&F Papers, with thanks.

Installation

Having this solo show helped me to develop my installation and curatorial skills. Faced with big white walls, a small yellowish lit space and a reading room, I laid out the work. I kept moving it around at floor level for hours. Finally I came to a selection and placement that I thought could work. I kept an open mind as I knew that my Supervisors would be offering advice. Yolunda and Glen arrived and things changed! For the better.

I continue to learn that less can be more. So three works were edited out. This allowed the rest to have more breathing space.

I had arranged the works according to temperature - in my mind, doing it this way told a bigger story, but as I was to discover that was not necessarily the best way to exhibit them.

Glen pointed out how variation of tone, colour, size, saturation and temperature made the show more punctuated with intense and calmer moments. Yolunda noticed how I had (inadvertently) made a pattern with small works between larger works. Seeing them through her eyes made me realise they were too uniform. Mixing it up helped.

I realised that it is important to let each work speak for itself, while being mindful of the relationship it had with others around it. In the end I made a few more changes, armed with the benefit of seeing the work through others' eyes and considering the helpful comments.

The exhibition began with a calm work 'Lines of Flight' with plenty of space around it.

Linda Gilbert, Lines of Flight, 2022.

The final work was 'Static' - a very energetic work with a sense of provisionality about it.

Linda Gilbert, Static, 2022.

Demo is beautifully lit by East morning light. The back room seemed an ideal space to show a selection of smaller works. I wanted to put into practice the challenge that Katrina Beekhuis had given me at the July Seminar. She suggested that some of the smaller works I was making were strong enough to hold their own wall. So I tried it out and they were. But the light wasn't great. I had to decide between a close reading which I wanted and not so great lighting. In the end I stayed with the space. In retrospect if I could have shut the door on the room, I would not have used it.

The opening night was far busier than I expected given the horrendous weather. Groups of people arrived in waves, but there was plenty of breathing space to view the exhibition and social distancing.

Looking after the gallery was a great learning experience too. I got to see how the works stepped out into the world in their own right. I dissociated myself from being the maker. For the next two days I became a gallery owner.

Seeing the work together - 18 months of pushing and pulling my mind and body, showed me that my practice has changed and developed. The paintings seem less self consciousness and the materiality is at the forefront now. I also enjoyed seeing how people reacted to the work and how certain paintings spoke to different people. One visitor stood in the gallery for a long time, soaking them in. Then she gave each piece a close and considered viewing. She returned with tears in her eyes saying the show had really moved her.

Sitting with the work on the white walls helped me to decide which ones held my interest. It also gave me ideas about which ones to use or develop as I prepare for the final show for the Masters course.

Altogether, this was a valuable experience and I felt very grateful for all the help I received from my Supervisors - and those who braved the weather to check it out.