LYNDSEY SEARLE | THE WORK

STATEMENT

For artist Lyndsey Searle, physicality is ever present within her objects.  She seeks inspiration from the nature of receptiveness and physical connection through representational, almost symbolic, and intuitive approaches. In relation to this, her practice more specifically investigates the possibility of a portable objects ability to respond, interact or connect to its space/environment. 

Despite their scale all works are determinedly portable objects - they represent themselves as being in-flux with regard to place (often with wheels, G-clamps or handles) occasionally through a questioning of the plinth due to its intermediate place between work and space. 

I believe to get to the very root of sense, physical experience and interaction, the work has to refuse to relate to a specific place and in it’s own self-contained way indicate itself as being pliable, penetrable, absorbing, exploring or similar. The works I make vary from simply responding to universal forces such as gravity to liberally investigating the use of funnels, which have an innate ‘receiving’ attribute, orifices and vents - or even the holes in knits determine a work as being penetrable and so capable of interaction.  (Lyndsey Searle)

The investigation is continued with the use of viscous syrup occasionally smeared over forms, with this Searle attempts to evaluate the role that viscous liquids may have.  Within her process of production Searle jesters with the idea that viscous liquids possess a ‘conduit’ function.  In this instance it is believed that in creating physical connection through acting as a fluid extension it also serves mediator. 

'I pursue greater understanding and to make increasingly inventive representations in relation to these issues. More recently, I have been concerned with utilising a slightly different language and fixing hazard beacon lights to my sculptures. This has been done as an exploration and extension of a sculptures ability to announce its own presence. I have tried to extend this natural aspect of sculpture with the use of the beacons so that the work more actively communicates with its surroundings, a beacon also in marking the sculptures space shares some merit with plinths and so there are a number of related concerns which have founded an interest in the flashing lights and which I propose to further pursue in future work.'  (Lyndsey Searle)