Category: Aide-mémoire

The Bigger Picture at Sixes & Sevens

Schema for representation of social-stigma Read more →

Rachael Adams

recent work explores visual conventions of the landscape that convey recalled anticipated events, describing that formation in the landscape where the visible and the anticipated overlap, collide and conflict.

Her practice is, in part, an investigation into a perceived problem of ‘memory as evidence’ in recounting personal histories. She assembles stories using fact, fiction and history in pictures, print, text, sound and the moving image.

Spirit of Place:

refers to the unique, distinctive and cherished aspects of a place: the invisible weave of culture – stories, art, memories – with the geographically tangible – monuments, boundaries, pathways, views...

Heimat:

poignantly highlighting the provincial sense of belonging and the conflict that exists between urban and rural life.

Topophilia:

is a word invented by John Betjeman for a special love for peculiar places.

Edgelands:

are the transitional, liminal areas found on the boundaries of country and town

Experimental Narratives in Sound:

The Scrutineer · Experimental Narratives

The Scrutineer · Gradually I Get The Feeling

The Scrutineer · The Bigger Picture: Intro (excerpt)

The Scrutineer · The Rookery

Rachael Adams’ practice is, in part, an investigation into a perceived problem of ‘memory as evidence’ in recounting personal histories. The spaces that emerge in her work present an interpretation of a threshold – as a defined geographical and emotional space – created to explore and map stories and their anticipated outcomes.

Pattern, fragmentation and layers describe or imply themes of absence, social stigma and accounts of both the reliable, and the unreliable, witness. The painting process is broadly improvised, with areas of canvas often left thinly covered whilst other parts are built up over a period of time.

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