‘Walking has become an act of resistance in our culture of speed: the deepening of the relationship between personality, place, pace and peace becomes apparent with any sustained walk. There are rhythms thrashed out between your physical state, the nature of the terrain and the movement of the air around you: a sense of something bigger makes itself known. Our place in this place becomes what we are navigating our way through’.
Faye Dobinson, journal entry, 2013.
A walk is a means to place yourself within a landscape, to move through it and to find your pace. A walk is a means to digest life, to traverse your memories, be challenged, make peace. In our contemporary culture of speed, a walk is an act of resistance. With this in mind, I have been carving star formations into tree stumps along a rural path, using the role of star charts as an ancient means to find your way. They assist the wanderer, so that the radical act of meandering can be upheld and assisted. I am drawn to what remains after trees are cut down and cut back: the remaining branch or stump becomes a quiet vessel of time. By recording the actual constellations of stars that will be overhead throughout the art event that is ‘Diskudha’, they become repositories of memories: the macrocosm recorded upon the microcosm.
This and other works will feature in ‘Diskudha: uncover, discover, reveal’, 1st-4th April, 2015, Cornwall.
‘Constellations: Patterns of significance’
‘With her love of vintage maps and star charts as her starting point, London born and Cornwall based artist Faye Dobinson plays with the way that they visually present random facts and disparate pieces of information about places and huge spaces. She then generates abstract forms of her own, painting and drawing these ‘constellations’ that scatter themselves across imagined spaces.
Their titles reflect the information presented- topographical densities of flora and fauna, migratory routes of birds, internal air transport routes and Autumnal customs in Ireland.
Dobinson sees maps as scaffolds for the imagination- the mind can roam and dream unfettered, as the eye takes in the information presented.
The work presented in this show is a continuation of Dobinson’s project titled ‘All at Sea: Exhibiting chance’, which began with a Residency at The Fishermen’s Mission as part of The Newlyn Arts Festival last year. She created small artworks on maps that were then put in bottles and thrown out to sea by fishermen she met in the Mission. A message inside this ‘art in a bottle’ asked the finder to get in touch, saying where they found it. The aim of the project was to put original art pieces ‘out there’ into the world, using natural forces, not market forces: to exhibit chance.’
A new collection of work by Faye Dobinson in The Picture Room of The Newlyn Art Gallery, alongside the opening of Bloomberg New Contemporaries 2014- featuring 55 of the most promising artists emerging from UK art schools selected by Marvin Gaye Chetwynd, Enrico David and Goshka Macuga.alongside the opening of Bloomberg New Contemporaries 2014- featuring 55 of the most promising artists emerging from UK art schools selected by Marvin Gaye Chetwynd, Enrico David and Goshka Macuga. Ceramics by Michel Francois are in the Studio Café.
20th March -25th April 2015.
Opening: Friday 20th March 2015 from 6.30-7.30pm Newlyn Art Gallery, New Rd, Newlyn, TR18 5PZ.
Hours: Monday-Saturday 10-5pm. Closed Sundays.
‘Golden seam: the volume of a detail’ F.Dobinson 2012
I am in the business of the unquantifiable, the slippery, the hard to pin down. Art making can often be a joy, but it can also be a frightening grind, a lost land of shapes and forms that lack logic but insist on showing themselves. This business of art making has no real rules, regardless of what some may say. And those saying those things are desperately clawing for an inference of certainty in a world of uncertainty. Face to face daily with not knowing is exhilarating, and knackering. At the coal face of mystery is where I dwell. What I create did not exist even seconds before I complete it. There is no fanfare, no pat on the back or ‘good job’ when i do, just maybe an exquisite mini-moment of a satisfaction that is grounded in its own framework of work well done.
I build scaffolds: supports and creative habits that give me a false sense of fragile security in my own creative no [wo]mans land. These temporal frames can give me sufficient sustenance and hope (though more often than not misguided and ungrounded) for the journey forward. Without them, it all falls down- I am an inconsolable heap of doubt and self loathing, living a lie, not making anything of worth (and so forth).
Art making for me is a way of tracking my unknown, to meet and extend my edges, my borders, my boundaries. I give visual form to an unfolding- to a tension between artist, prompt and material used, to a deep and chiming pull to make things in response to something. No discourse, no analysis, just illuminating process.