Installed at St James’s Church, Piccadilly, London.
Midnight 29 November - 9pm 30 November 2015
Size variable approx. 165 x 200 x 300cms
‘Her floe-fall lament (COP21)’ was made by freezing 66 litres of water in an oil drum. Placed to cause maximum disruption, the constant amplified sound of the melt-water pouring into the oil barrel was an insistent reminder of something happening in real-time elsewhere in the World.
“I made my first ice-melt in 2006, after attending a Climate Change seminar for artists at the RSA. Profoundly shocked I needed to address the issue in my work; since then I have used thawing ice to symbolise transformation and resolution. The outcome is inevitable, but with it come release, warmth and a certain stillness after days of noise and agitation."
'Her floe-fall lament (COP21), Sara Mark. 2015
St. James's Piccadilly in London was filled with the sound of melting ice all through the day on the eve of the Paris Climate Summit (COP21). The gradual disappearance of the huge block of ice cast in the shape of an oil drum and the continual pouring of water was a vivid reminder of events taking place elsewhere in the world.
Sara Mark, 2013
in collaboration with and gratitude to
Blacksmiths: Simon Butler, Ben Horrobin, Andy Thearle, Alistair James, James Horrobin.
Glass-blower: Rosie Sutcliffe
Installation at Sion Hill, Bath
(1500 x 2000 x 240 cms)
Timber, galvanised steel, hand forged steel, blown glass, wood ash, roofing felt, rope, artesian water, well-water, acrylic, LED lights, fluorescent lights, found bicycle wheels, ammonite fossil.
HOUSE attempts to manifest ‘spirit of place’ and an enquiry into ‘soulfulness’ and what engenders it. It is based on statements and questions relating to the house in which I lived; it became a phenomenological investigation into ‘my place in the world’
Description A shed stands askew against a wall, it sits on a platform of irregularly spaced beams that appear to float above the gallery floor and is underlit with gold light. The 'outside' face of the shed has a felt roof, boarded floor and windows.
The interior of the shed is glimpsed, but its contents are concealed. The gable wall is missing; the roof is supported by an ad-hoc structure: wood wedged and ‘gerry-built’, but made with care and precision. The back-wall and roof have been de-constructed and then repaired.
The interior is a light-filled space with a crack of 'gold' light running across the floor. It contains a leaky galvanised bucket and a stack of narrow timber shelves holding seven hand-forged hooks. On the opposite wall, a shelf supports four up-lit, glass bottles containing local well-waters.
On the end wall a pair of chained double-doors offer a view into a space ‘beyond’; a chill, indeterminately-sized area with a water-filled floor. A rope and iron-hook hold a white de-constructed bucket above still, black water.
HOUSE is complimented by ‘Ammon’s Cart’. An assemblage of a timber platform with eight wheels carrying a fragment of large ammonite fossil.
“Perception of the inner substance of things can only be acquired through practice.” Joseph Beuys. 1970.
Performance and Workshops
During the week of the exhibition, the space was dowsed for underground water in a series of well-attended workshops. There was also a 'tasting' of a selection of local well-waters: Rode, Bathford , Charlcombe and Hamswell.
Sara Mark - House
Sara Mark - House
Steel, rainwater, wood-ash, found timber chair
(Size variable approx. 2300 x 2000mm)
Research into Place and its emanations unearthed the ancient site of Delphi; known to the ancient Greeks as the 'Navel of the World' it was the seat of the Delphic Oracle.
The seer (Pythia) sat on a tripod stool placed over a fissure in the rock from which emanated a spring and perhaps the gas, Ethylene, which being hallucinogenic induced wild utterances. Polythene is technically poly-ethylene; I explore its material possibilities.
A steel tripod/plinth 1.65m tall, supports a deconstructed polythene vessel frozen into a drum of water. As the ice in the upper vessel thaws it slowly fills the lower vessel below. The melt-water hitting the steel-cover marks the passing of time and fell silent after 24-30 hours.
Sara Mark, 2015
Steel bowl, Effra water, bronze powder, radio microphone
Water dripping from 30 foot from an invisible source, transforms plastic and rusted steel bowls; turning them gold over the course of 2 hours.
Sara Mark, 2015
12-19 July 2015
All Saints West Dulwich, London.
The community were invited to bring family linen and to share their stories. Table-clothes, handkerchief cases, the laundry label of an old bed sheet, tea-towels, christening robes were washed, as well as altar linen, generically known as ‘Fair linen’.
Pegged out to dry across the church aisle for several days, it was returned ironed, folded, the following week.
the art of growing wheat
22 March - 4 October 2015
West Dulwich, London.
On the Sunday of the Vernal Equinox the project was inaugurated with performance of classical Indian Bharatanatyam dance choreographed by Divya Umakanth. Wheat was distributed to local schools, the L'Arche Community for people with learning difficulties, allotments and other local groups.
Harvested on the Feast of Lammas (1st of August), it was then threshed and winnowed at the community Autumn event. School parties participated in its milling at the 200 year old windmill in Brixton, London. Bread was then baked and enjoyed as a Harvest celebration in October.
"The Vernal project has been an amazing experience. It was conceived as a means of engaging the community and connecting us to the seasons, but the growing of wheat is rich in symbolism and graphically illustrates what is involved in giving “us our daily bread”.
Sara Mark, 5 March - 20 April 2014
Thames water, glass, galvanised steel, rope
(75 x 150 x 150 cms size variable)
St James's Piccadilly, London.
A bucket of water from the River Thames is left to settle to dis-turb for 40 days.
Mermaids are beautiful and dangerous creatures inhabiting coastal waters; historically her attributes are a mirror and comb.
Prior to the Porthleven Residency a narrative was composed that wove the view from one of the windows in the Porthleven Lifeboat Station to the folk-story of the ‘The Mermaid of Zennor’. The text was later applied to the seaward window of the Lifeboat station from which the ‘Morveren’ buoy and a particular ‘rock’ were both visible.
Steel, Aqua Sulis, timber, ash, acrylic, retort clamps.
(Size Variable. Aprrox. 165 x 200 x 200 cms.)
Three geothermal springs rise under the city of Bath:
Cross, Kings, Hetling. They are Aqua Sulis.
In 2013 at a stage between Apprentice and Master, I found myself to be a Journey-woman. The tradition of journeying for two years in order to hone one's craft-skills dates back to medieval times. It still exists in Germany, where the Journeyman wears a costume of an eight-buttoned waistcoat, a gold bracelet or ear-ring, heavy boots and a walking staff.
I travelled away home in order to learn from 'masters' at Gloucester Cathedral Stoneyard, Porthleven Metalworks and a Buddhist temple in Thailand.
Photo: Brian Link, 2013
Prior to practicing as an artist I worked as an architect and then as an urban designer; this may explain my interest in the body’s felt response to architectural space.
How artefact and material processes create the essence of ‘place’.