Dendritic Process
Our third instalment in the 2020 shows was titled “Dendritic Process” and was inspired by the works of both Sarah Poland and Kathryn A. Trussler.
Their works were both hand-picked before the show’s title was even considered so it was believed only fair that the works should decide the outcome of the title.
At one point, we considered calling the show “Dendrochronology” which is about tree ring dating, however with more in-depth analysis of the works, it was felt that there was more of a process than dating of such artworks, the pieces themselves were telling the viewer of a process which has taken time and effort to create which shares a similarity to Dendrochronology but is entirely different; that was when it was discussed that the title should be “Dendritic Process” as dendritic means “Having a branched form similar to a tree” and both the works contain a similar form to that of a tree and have been created in a process of natural growth.
Sarah Poland and Kathryn A. Trussler’s works are very different from each other with their media but they share a similar base line to each other and somehow when together, the works will communicate with each other through their use of lines.
Although Kathryn’s lines are more three-dimensional and sculptural to Sarah’s works, the pieces when shown together showed us that even though the works were different, they were joined together by their process.
Sarah’s work spoke of seasonal moments, birth and death and a basic journey from green to grey, a forgotten language of time and its constant flowing process that binds and surrounds all living things while Kathryn’s work was suspended from the ceiling… hanging in the centre, a perfect representation of life, its delicate body casting a shadow on the floor which spoke of time and all its entangling lines for all forms of nature not only trees.
A circle… a circle of life that both gives and takes but as Kathryn’s work reminded the viewer what can seem hollow and dead is not the end of its story, it is merely the beginning of a process, a transition to the next stage of a life cycle for not just her work or that of the Ash Tree but for the process of reuse-ability.
Before we begin a show, we print out the images and exhibit them in the rooms to test which pieces best fit where. Over the course of a week this design will have changed around about 4 times before the final installation is complete.
Sarah Polands work finally in the room waiting to be installed on the wall with the sculptures by Kathryn A. Trussler.
So many miniatures... so much to show.
Sarah Polands work stacked together in the Sculpture room 2 days before the opening to be assorted and installed.
Opening day with all the works finally installed and ready to for our visitors to view.
Sarah Poland's collection of "Ash Trees" on display in the sculpture room.
Kathryn A. Trusslers sculpture suspended from the ceiling just almost touches the wooden floorboards of our first floor exhibition space. As you can see, each sculpture displaced by Kathryn A. Trussler would cast a shadow on the floor, however due to each sculpture being unique this in turn translated into the shadows structure. This in turn translated into almost a common language shared between the works of these incredible artists. The Language of circles.
It is quite fascinating to see how Kathryn's sculptures blend themselves beautifully into the room with Sarah Polands work. The colours, textures and atmosphere produced by all the pieces seem to harmonize and almost hum to each other an unknown language, a language that is seasonal and doesn't judge. Perhaps this language is only understood by mother nature...
A close up shot of Sculpture No. 4. located in our top right showing room. In the Cocoon of rings hangs a delicate red flower, suspended in a status of change, a temporary status, awaiting the moment to bloom.
Sculpture No. 2 in communication with Sarah Polands piece "Tree Rings No. 1"
Through the eyes of a sculpture.
