Magnetic Atlas

November 19 2016 – December 11 2016

Tracey Holland works with photography film and collage to create her site specific installations.

Her latest work Magnetic Atlas consists of 4 components; Ordinalia, a 12-screen film work installation, Huldra, a 3 screen film work, and a third projected film work, The Sleeper Falls. A set of 30 wall based photographic images Charged Vessels & Infinite Bodies, interlink these three film installations, and selections from Magnetic Atlas are on show in the SIA Gallery show in November.

This new work continues investigations into the interplay between elements of physics, psychology, religion and myth, and draws upon stories from religious mystery plays like the Cornish 12th century ‘Ordinalia’ and tales involving mythical figures such as the Huldra - tales of the visible and the invisible. These mythological miracles are contrasted with natural events and miraculous happenings which both inspire and reflect the myth. The work investigates how mythic tale, the psychology of the antiquity and character work within the psyche providing insights for one another. 

Holland creates a moving collaged narrative,integrating still images and image sequences with moving film footage. Distinctions between genres are blurred; in both the making and displaying of the work the act of projection provides the ability to contrast seemingly disparate images or objects and to draw comparisons on the macro and micro level; a star cluster can be projected inside a Leyden jar, or onto a theatre stage. In the installation Ordinalia, 12 maritime and railway lamps are free hung into the space, and housed inside are looped films playing on small screens placed behind the glass of the lamp. The films in the central triptych sync’d lamps refer to the long, miraculous and symbolic Legend of the Holy Rood (or Cross), originating from the seeds of the Tree of Life planted in Adam’s mouth to the Crucifixion. Each lamp features a place of ceremony, habitat or environment which acts as a stage for ritual, or a site which engenders memory, acting as roadmaps for connective thought and reverie.

The energies found in different environments and spaces are examined in both the photographic series and films. In work such as the Leyden Jar images, the work references a vessel’s historic content; the captured and usually invisible electric, and contrasts this with the symbolic importance of the inner space and energies of other ‘sacred’ enclosures such as the temple, a confessional box or a theatre stage, expectant of some sort of performance. Holland explores how and why these spaces evolve or are chosen, their relationship to us and our relationship to the infinite. The religious or mythical interpretations of the creation of the heavens and earth and their ‘fixed’ geographical boundaries such as Heaven, Eden or Elysium are contrasted with the ever present, very real but invisible, electrical energy.

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