SPINAL CHORDS

The starting point of the work is to be found in a model I did at a course in Public Art, see images in the b/w photo collage to the left. There were a series of pillars supporting the building I was working with, where a cycle path transected it. The pillars were elliptical in cross section, and they had their ends cut off. The characteristic shape obtained was something I recognized from an earlier work (see Silent Fruit, Rostrum).

I now decided to rotate segments of this shape, (i.e. the slightly cut ellipse) in order to create a spiral. I discussed with a sculptor who led the course how it would be possible to actually cast a concrete spiral like the one in my model. Based on these discussions I managed to realize my first spiral some time later at a course in concrete casting in Malmö. As I was working with the cast form consisting of all these segments slightly turned for each step of the spiral, I suddenly saw the great potential for photographs to be taken down this negative spiral cast form.

I applied for and received a small grant from The Arts Grants Committee; a project grant to do experiments in combining photography and computer graphics. With the money I produced some of the photos of this work. I used black and white negative film that I processed in an Amiga Commodore computer. Then I produced colour slides and coloured text lines which were enlarged to 70 x 100 cm mounted cibachrome photos.

To cast the remaining five spirals, I contacted Skanska Prefab where I was allowed to use the company’s production resources as a sponsored artist. I produced the cast forms beforehand, and cast five more spirals, each with its individual basic shape and slightly different colour of cement, in one of the large production halls of the factory.

In the working process I started to think about the implications of the spiral shape. I was moving in the direction of DNA and family relations, or more precisely towards the question of nature versus nurture. I liked the fact that I dealt with six spirals, since there are six members in my biological family. These thoughts were indicated in the work itself as printed coloured text lines mounted in the same cibachrome format as the spiral photos, see exhibition images. In the catalogue of the exhibition SYDNYTT II, I wrote as follows:

”Spinal chords, melodies of the spine, variations on a theme. Sagrada Familia, heredity, similarities and differences. DNA, nature versus nurture, is it possible to break the code? Inherited, marked form, culturally controlled. How does the form relate to the content? The womb and the foetus, within you, without you.”

 

Originally shown at SYDNYTT, Malmö Konsthall, SE 1991-'92 and at Konsthall Rix in Linköping, Sweden, 1992.