Epoche: Suspension of judgement, 2017


Epoche: Suspension of judgment 2017

5000m twine, steel washers, sand bags

A collaborative installation Lindsey Elise Jolly & Su Nicholls

The Epoche installation is a site-specific work that conjures ideals of light, sound and flight, whilst displaying embodied tension within the twine structure. Intervening without overwhelming, it can be read and interpreted by visitors in their own way.

It is designed to blend and co-operate with the magnificent historic building, celebrating the location and the ornate carved angels in the vast vaulted ceiling.

The sculpture challenges the visitor to maneouvre within this former church in new ways by directing them to climb the steps up to the ‘forbidden’ area of the Chancel to experience the space.

Epoche intends to reference both the architecture of the building, and the Hungate Angels, whose financial donations enable the charity to keep the building open and functioning.



Upon visiting the Hungate site, we were immediately struck by the openness of the space, uncluttered with familiar church furniture.  Serenity and harmony seem to seep from the very fibre of this beautiful building and yet it remained peculiar and uncomfortable to stand in the restricted area where the altar had once been.

In order to incorporate these elements into an artwork, we proposed an ambitious installation that utilised and divided the open space forcing the viewer to negotiate the building in a different way, by closing the central isle and giving access through the chancel space.

We designed an abstracted angelic form, delicate and ethereal to resonate the ‘serenity’ of the space, to be suspended throughout the entire central area of the church, utilising the only three anchor points possible in this listed building.

Warboys, 2016

warboys 2016

Looking at the Curatorial statement for the BAS8 by Anna Colin & Lydia Yee,

Echoing recent philosophical developments, objects are considered here as active agents, generative entities, mutating forms and networked realities, rather than being simply defined by their properties (what they are made of) or their effects (what they tell us).

And the Sea paintings of Jessica Warboys in the show,

I proposed to make a piece for the Takeover event, which responded to both Jessica’s work and endeavors to capture something of the energy in her process of making on the beach with the sea as her co-worker.

My intention is to capture the energy of Warboy’s work, by thinking about the elements of water air & earth, the idea generated from the image of her working on the beach in the BAS8 catalogue. Using a mixture of oil, ink and paint, the materials fight and resist each other to create a multi-layered, textured surface.

Feather installation, 2017

feather4 panoramic bw

This installation is an ongoing interest in multiple textures. The mass of feathers float weightless and effortlessly, untameable, and in contrast with the rigid steel ladders. The walls show colouration and deterioration on the surface and yet the very material it is made from. still seems to be bulging and pushing to release from the solid structure.

Ghostwood, 2017

ghostwood 2017

‘Ghost wood, 2017’ is a response to place and experience, the cornerstone of my creative practice. The work aims to capture some sense of my experience of place; the old woodshed in the meadow, full of cut timber, with tree branches reaching down over the roof. The work hopes to make comment to the irreplaceable value of trees, and the failure of humanity to respect their vital role, in maintaining balance in this fragile world. I am thinking of  habitat, protection, shade, oxygen aswel as beauty. By using trees as a disposable resource, mankind is destroying woodland and forest across the world without due care to the irreversible damage being caused.

ghostwood closeup

The painted canvas presents a monochrome, ghostly x-ray image of the forest wall, vertically dropping to the floor in contrast to the horizontal, severed birch trunk with its silvered bark.

The work is informed by the research for my dissertation, focusing on the Sea paintings of Jessica Warboys and John Virtue. Jessica Warboys’ Sea canvas paintings are made on the beach, with the sea as her co-worker, to make ‘records’ of the moment. This resonates with my practice of working outdoors with canvas with the wind as my co-worker. John Virtue’s huge paintings, always in monochrome, are his response to place and experience, and his visions of the world, as he sees it.

Driftwood, 2017

driftwood1 2017driftwood2

Driftwood was inspired by finding a large broken post, washed up on the coastline by the raging sea.

twisted, rolled, strangled, yanked, pulled, constricted, torn

driftwood sketch1

Corona Spineus, 2017

corona spineus

Corona Spineus (meaning spiky crown) was conceived following my visit to Norwich Cathedral in response to the Bishop’s call for submissions to his Art Prize 2017. The title of  ‘Glimpses of Glory’ spoke to me of the visible depictions of ‘glory’, specifically the depiction of halos and religious glory,  within the magnificent Cathedral building. I am intrigued by the repeated shape of long and short spikes which when the gold colour is removed, change to sinister, and aggressive adornments. As the halo shape unravels, the sculpture alludes to the crown of thorns and still further to suggestions of eye lashes, DNA and a crawling insect. All of these may be considered glorious, though the hard dark steel spikes exude a threatening danger.

corneus spineus sketch

Life, 2017

life 2017

Photograph above by Jeanette Bolton Martin

‘Life’, is an installation constructed for a collaborative exhibition titled ‘Experiri’ with Lindsay Elise Jolly at Nunnsyard Gallery, Norwich. It asks the viewer to consider the ladder as a suggestion of movement, both and down and the notion of life. Do we consider moving up or down as life passes? The ladders are only connected at the top, which may suggest the start or entry point, and float freely downwards. the mirror below reflects and extends the ladder’s journey though leaves the ladders disconnected.

life mirror

The reflection captures the ladders and the sky, though it is now below, turning and questioning the concept of direction and the notion of ‘above’.
life sketch