Ellie Nicholls

Tectonic Interpretations

The initial abstractions focus largely upon material matters, using mediums including ink, oil pastel, and bleach to explore the visual dichotomy of what is living (animate) and what is inanimate in Goldsworthy’s sculpture. Through a quick process of trial and error I used primarily ink wash, then it imprinting natural materials brushed with bleach. The bleach seemed a natural choice for this exercise- representative of animation, as unless treated the bleach will continue to degrade the paper, warping and transmuting the work, unlike more static mediums. Also the results of the bleach are wildly unpredictable, suiting well to my interpretation of a tree as a mercurial thing. I then embellished each piece with an entirely unnatural intervention, as Goldsworthy would place the stone in his coppice, as something static, entirely at the whim of the tree, or in this case the effects of the bleach. 

While engaging with these studies, I happened upon my second line of enquiry- what forces hoist this rock into such an unnatural position, and what forces in the system are compelling it to stay. Imagined the forces in a sort of pseudoscientific process, where they would act and where it was derived from. Eventually I came across a sort of net form, where the corners, hung from long strings would become a sling supporting the rock from above, adapting and rearranging to its shape. Being made by hand, and rather quickly- the net is imperfect, however this creates a sense of variability in the act of lifting and supporting, with a different arrangement of strings activated each time an item is placed within the net, or when the length or span of the supporting cords are adjusted. This is where the title, at work/at rest appeared, as the following enquiry explores this notion.

Material Strategy.

About 1km as the crow flies from the fly tower is the port of Dundee where a program of decommissioning oil rigs is taking place. Decommissioning is the process of of dismantling the vast assembling that forms a rig, with the vast majority of material being scrapped and recycled. The legs of decommissioned rigs tower above the city in a similarly latent state to the fly tower- the height a barrier to ease of reuse. This project draws a connection between the two structures, recognising the coalescence in their dormancy and reactivating them in partnership. This forms a sort of set within the vacant stage area of the flytower, honouring its past, while also offering solution or prototype to the potential problem Dundee may have with decommissioned oil rigs. By adapting these parts, diverting them from reprocessing and reforming could save carbon emissions, but also preserve their character which appears to becoming part of Dundee’s post industrial identity, offering a local solution to a need for sustainable building materials.

The project will cater for aerial dancers, however I have chosen to cater for specifc type of aerial performers- contemporary circus groups. This is a growing art form which fuses narrative and performance with a number of traditional circus skills. These groups are often touring groups with this project giving them a permanent base, with studios that cater for their specialist requirements. However this should not be an exclusive space, with community access interwoven through the building with the spaces becoming venues for Dundee. This direct interface between contemporary circus and community is an effort to increase participation, making it simply less scary to try something new. Part of engaging with the community and direct neighbours is reactivating the courtyard into a multipurpose space that further encourages people into the building itself, this is achieved a gradual reintroduction of industry to the courtyard, first by providing a space for open air performances and markets, which can if requires be turned into permanent buildings.

This project is an adaptive reuse project aiming to preserve the buildings a they are, interweaving, hugging, and occupying spaces, with little physical changes to the structure; rather than obliterating the former meanings and identity of these buildings. Analogously this proposal recognises the need to adapt these building to be as sustainable as possible using passive strategies were it can to increase the environmental performance of the old structures.