Domestic Installation #4 (Sessorium construction #1)
Hortus Conclusus- from Latin, meaning: Closed/enclosed/protected garden. Often referred to within medieval and Renaissance paintings of the assumption (Relative to Christian theology, where God tells Mary, usually through the archangel Gabrielle that she has been chosen to be the mother of Gods Son Jesus Christ which enters her body through his divine light).
The Hortus Conclusus is always depicted as an enclosed protected garden area filled with symbolic plants and flowers alluding to the virginal and pure nature of the Virgin Mary.) I use this as a historical reference base for the selective creation of a particular identity of the “Good Girl”, which is the undercurrent of my current paintings and constructions based on contemporary identity construction and contemplation of celebrity.
The Domestic space
The Sessorium (Latin for living room) is based on any traditional western/European living or sitting room; fitted with a television or fireplace, seating area for entertaining visitors or taking tea etc., A mantel or shelf to display ornaments/photo’s objects of importance desired for public display. It originates from my interests in the public and the private space and creating a displayed sense of who we are.
Although it is in the privacy of one’s home, it is a semi-public place, for invited guests, so we can consider any elements displayed within this space may be personal, although the fact that they are offered for display, means they are chosen, and the arrangement constructed, So there is a definite control and a desired image put across in these types of spaces
Sitting room chairs
These chairs are designed to replicate the symbolic nature of the plants within the renaissance paintings of the Hortus Conclusus. All domestic furniture items within these Installation pieces begin to partially and sometimes fully morph into a symbolic botanical representations. Most represent sexuality or non-sexuality, or the truth that any representation of non-sexuality is at its core an unreality (in reference to humanity/human nature relevant to identity construction).
In the case of the Sessorium, the chairs morph into definite sexual plants, reacing out to touch each other. One suggestively male, the other female, each constructed with materials designed to make the viewer want to touch or stroke them. The chairs can no longer be sat upon and, in turn, further reference the uncomfortable nature of addressing this congruent
theme of overt sexuality. The chairs mimicking traditional, expensive Queen Anne style furniture (a symbol of class and status of the owners) are painted red, which remove them from their original furniture state, reference sexuality by the symbolic nature of their colouring, and become a dramatological  tool, a theatrical analysis of the cultural space and the public and private interaction.
 Duncan Reyburn refers to dramatology, in connection with the philosophy of G. K. Chesterton, as a "dramaturgical" hermeneutic approach that is rooted in a "dramatic understanding of the nature of being". Henry Zvi Lothane also uses dramatology to indicate a methodological approach to action and interaction between persons in life, disorder, and therapy Dramatology, in Lothane's work, completes narratology. The patient and the therapist alternate in their role of speaker and listener and in processes of reciprocal free association and continuing mutual evocation of images, which coalesce into acts of interpretation and create insight. In real life, the person who comes to a psychiatrist or psychoanalyst presents as a unique individual in physical appearance, clothing, caste and cultural identity and who communicates in an individual style through words and
emotion, tone of voice, posture and gesture of face, body, and limbs, and
more. The story the person tells, different from a story written, is in
itself the beginning of an ongoing dramatic relationship. All the person’s
behaviours are translated by the psychiatrist into symptoms, syndromes, and
systems, and moulded into diagnoses ref:Zvi Lothane. MD. Issues in
psychoanalytic Psychology Volume 32 No. 1 & 2 2010
Television/fireplace: Digital construction of Pollinators (pullulationem) film.
The digital film played on loop was originally a deconstructed/reconstructed digital compilation of a feeding humming bird and a small swarm of flies. The two digital pieces were deconstructed by enhancing the light and brightness of the film, removing all background and 3 dimensional structures and forms by reducing it to its lineal outline and then was reconstructed by adding a digital threshold effect which added movement and slight ethereal colouring to the reduced images. The humming bird image was originally designed with the idea of projecting it into another Hortus Conclusus Installation titled The Cubiculum, which translates simply as the bedroom. I had pictured it trying to pollinate the plant structure within that installation although all attempts at working this into the initial piece proved unsatisfactory. In reconstituting it, it was designed to fly between any two plant constructions and could be activated in any number of installation works.
The house fly section of the film was originally designed to bring sound and movement into still or stagnant installations. The loud buzzing sound, indicative to swarming flies on garbage was desired to add an incongruence within the beauty of the Hortus Conclusus installation. The undesirable sound would interrupt the quite serene spaces, symbolic of the idea
of that female sexuality taints the nature of a pure “Good Girl” identity construction. The pollinator, which is beautiful in the case of a hummingbird, becomes dirty and undesirable in the case of the flies.
Mantel shelving And Apothecary (apothēcārius) jars.
The mantel is a place we arrange collected and culturally significant objects we wish others to see. A place for religious icons, to show our devote and moral nature, photographs of family in overt constructed poses offering visual links to our family lineage, precious objects offering an idea of financial status of the household if only to name a few uses. In this particular installation, the mantle holds aloft statuesque Apothecary jars which act as mini Hortus Conclusus. Like liquid-less snow globes, miniature constructions of symbolic plants created for the Hortus Conclusus to date are memorised and encased forever, as beautiful and special objects, elevated from their lowbrow sexualised status by placement within expensive containers, becoming objects of finery, far removed from their previous history of existence within the overall Hortus Conclusus installation.