Artist Statement.

 

Toni Fielding presents a body of work created heavily through the form of installation and film works, with a somewhat performative nature. The works often fuse natural elements with structural kinetic formats in order to perceive an essence of the mundane and the function this exerts within our everyday placement.

 

All works are considered to be fragmented segments, which combine to create a cohesive whole, flowing from one idea to the next, with each notion creating and broadening further layers to the work.

 

The individual works comment upon the grander narrative in life, exploring growth and decay through an enhanced sequence. This is executed using natural materials perceived as tools to create a barrier of reflective distance between the audience and artwork. Through this process the audience are invited to reflect upon the detached form, yet the work is still placed in a relatable context of which the audience can string personal assumptions and forge relationships. The distance of the materials allows us as a participant to take a step back, and see things from an alternative perspective, which translates to reflect upon us as a species and a whole.

 

All works are produced in such a way that allows each encounter with the work to produce a new outcome. No two moments are identical and each leaves a trace of the previous, feeding the works to become a fuller evolved form. At times these are discreet moments, bringing in to a focus how we are undergoing an ever-changing state of time, yet during others there is a dramatic accumulation, which presents a timeline, in which we can see the works unfold before us. Every moment inscribes the work with an element of its own personal history, which is then primitively juxtaposed with the potential of an ongoing process yet to come.

 

The element of time is a recurring theme represented throughout the body, exploring the limitations and lack of control we have over this external force. This allows the work to flourish to its fullest extent, with few methods of intervention at hand. The work is meant to construct its own pathway, producing an unexpected outcome, within its parameters, and has an experimental nature of which leads to further speculative observations on the world around us. There is no given outset as to when the work will reach its fullest state, this is something that occurs naturally and can be continuous, leaving the audience to decide when the end point has been achieved.

 

The mediums used never cross paths, through fear of loosing concise elements and becoming a shadow of its opposite. In order for the installations to be viewed at their best, there needs no be a recorded timeline of the events that have occurred previous and further, from that exact moment that the audience are experiencing. The concise point of each work is that you are in fact experiencing an event, rather than decoding a moment of which has passed and relayed back to you on a continuous loop. The beauty of the installations is the timespan in which they happen, and how once the moment has gone it cannot be received again. To set alongside a documentation film would evaporate this and personally make the work null and void.

 

With dissected observations upon impermanence and dualism, Fielding works towards an outcome of which provokes thought through a conceptual manner and allows us to reevaluate our place within the world, and our understanding of time and nature on a minute scale.