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I Can't Remember Where I Came From: Objects as thresholds to past memories and imaginary futures, Tyler Moorehead, 2024.
Drawing on Jean Baudrillard's 1968 text, 'The System of Objects', the artist explores how we define and relate to fragments of objects, and how the suggestion of an object can define a cultural point of view.
In this multi-sensory provocation, the artist speculates how fragments of family lineage and fragments of objects might converge and give way to an imaginary future.
Combining domestic items and found objects across context and culture, the artist repositions objects as speculations with no clear function, allowing imaginary possibilities to emerge.
Stone artefacts with gilded bottoms are tethered to secure the tarpaulin over hessian sacks.
At 1.68m tall the hessian sacks match the artist's stature. Each is overstuffed to a one metre diameter with used pillows, duvets and other items of soft comfort.
The installation includes a familiar soundscape incorporating water, birdsong and bells with a scentscape of rosemary, sage, citrus & clove.
Site-specific work developed for the Casino Nazionale, Lucca Province, Italy.
Supported by Borgo Degli Artisti.
Painted tarpaulin as curved wall is supported from behind by oversized hessian sacks and a network of ropes and stone objects.
Support from rear for painted tarpaulin wall. Simple jute ropes, hessian sacks and natural rocks combined with photographs, objects and candlelight are transformed into objects of value and significance.
Stone artefact made from natural rock with gold acrylic, photograph and steel chains create a new object of memory.
Stone artefact.
Stone artefact made from natural rock with gold acrylic and fragments of other objects.
Speculation for a head piece or eye piece as artefact.
Stone artefact including photograph of the artist and her family.
Welcome to WOOD.LAND., Tyler Moorehead, 2021
Installation Menier Gallery group show ‘Beep Beep, The end of the end of the world’
Portraits and soundscapes from the urban woods pre-imagine a warm, woodland welcome not always extended to those from ethnically diverse backgrounds.
Welcome to WOOD. LAND. aims to gain access to deeper research on the emotional and social connections between ethnicity and nature.
Drawing on forest ritual and oral traditions, Welcome to WOOD.LAND. extends relational practice to sensory activism.
Conversations in nature build our capacity to challenge and re-negotiate ‘urban’ narratives which often do not include green space.
In the woods, we bear witness to our collective experience of disenfranchisement in nature. Walking together, we welcome ourselves, and inhabit the urban woods on new terms.
Enveloped by trees and life, we seek to unravel the notion that black and brown bodies are unnatural in the natural world.
Natural soprano and bass tones from bird calls, rustllng trees, scrambling squirrels, beats on hollow logs, runners on gravel, dogs in puddles, and planes rumbling overhead.
Field recordings from Highgate Wood and Queens Wood North London.
Birds, squirrels, woodland sounds and percussion of woodland runners accompany Debi Tinsley's (www.debitinsley.com) vocal performance of a deconstruction of Maya Angelou's epic poem 'When Great Trees Fall'.
Portrait of wood walker in ‘protective’ red sculpted leather cape with orange grosgrain ribbon tie.
Portrait of participants in organza masks
Wood walkers in fittings for series of masks, shields, collars and capes.
Protective cape from sculpted and fired leather offcuts is lined with vintage Japanese brocade.
‘Meet Me at the Upside Down Table’ Tyler Moorehead, 2018.
Interactive tea experience in a community arts space adjacent to Southwark underground station, London SE1.
inspired by Japanese tea ceremonies and board game play, the installation draws on the 1906 english text Book of Tea, by Okakura Kakuzo.
The title refers to the uncovering of tables - and truths, relegating tablecloths to a role as hanging sculptures and bench supports to encourage visitors to do as the text advises and ‘cherish their unpolished selves'.
Encounters are designed based on 4 guiding principles of Japanese tea ceremonies: harmony, respect, purity and tranquility. Sessions are guided by table cards positioned at stations in front of all 4 benches allowing visitors to progress through structured but relaxed conversations over tea.
Photos: Bernadette Baksa
Plywood, recycled felt, vegetable tanned leather, vintage lace and linen textiles.
At the centre of the installation is a bespoke ‘tea table’ in the form of an esoteric board game. The table was inspired by origami with leaves designed to function as a magical valise. Handmade cards guide the session.
Guidance card and sample items concealed below the flaps in the tea table designed and fabricated by the artist.
As a site-specific installation in a disused cork factory adjacent to a London Underground station, the work reached out to people living, working and passing through a cultural and commercial hub in London, SE1.
Observers peer through hangings of sculpted lace and linen tablecloths to watch progressive tea ceremony unfold.
‘Even on my knees’, Tyler Moorehead 2018.
An installation of community and forgiveness with its form suggested by the gates of ancient Shinto shrines.
A participatory public installation that memorialises the shared thoughts and words of encouragement from visiting members of the community to other visitors. The installation canopy and tapestry expanded as the artist added visitor contributions throughout the exhibition period.
Photos: Bernadette Baksa
Bamboo cane, acrylic paint, gold leaf, natural clay, vintage linen teapot covers, antique silk kimono ties.
EMBRACE: The things that unite us.
Interactive installation of multi-sensory soft wall sculptures responding to social division.
Conceived in the wake of rising social and political divisiveness and the diminishing art of civil discourse, the artist asks: Can the universal language of the embrace step in to bridge the divide?
Visitors were invited to breach the 4th gallery wall to touch, squeeze or embrace the tactile pieces, incorporating scent, sound and responsive light.
Facilitated events invited visitors to pause together for an ‘embrace meditation’ and consider the hurts that unite all people with one another.
Photos: Liz Gorman
Responsive LED lights illuminate in presence of visitor.
Site-specific response to the historic Bagni di Lucca library.
Hanging leather folios of layered artworks explore themes of migration, assimilation, dislocation and belonging. Visitors are invited to leaf through artworks as they might leaf through a book.
Having moved house with her family several times for her father’s career, the artist developed a peripatetic lifestyle of her own that has since seen her relocate 49 times.
Motion Sickness, an inner ear condition the artist also suffers from, considers the theme of constant movement between cultures, ideologies, expectations and addresses. It is about blending in while standing out and locating a sense of belonging even when permanence is not assured.
49 Gold painted cards represent key tags, on the reverse of each is one of 49 previous street addresses going back to the artist’s birth.
Abstract acrylic paintings on discarded domestic linen and canvas respond to blending in while standing out.
Layered drawings on paper and acetate.
Gold painted cards in a pocket contain provocations about assimilation and adaptation for visitors to consider or discuss.
