I am Sarah Kniveton, a Bath based artist. I am a mixed media artist working in a combination of printmaking, photography and video. I am interested in the relationship between time, experience and memory. I am working with discarded packaging as a surface for print and cyanotype that has been modified in continual evolution to create 3D articulated structural folded forms. The physical object in time is fleeting and represents a moment in a longer process. The processes that I use change the surface image and the integrity of the material so that it becomes increasingly fragile as a reflection of memory and loss.
I am exploring the layering of imagery onto discarded surfaces and folding them into structural forms. Images of abandoned human constructions, shadows, and reflections that convey a sense of sadness and the ephemeral. The pieces are not static, the surface plane has been layered and folded, as a metaphor for the interconnections between time, space, and memory.
The work uses discarded packaging that has been modified in continual evolution. The physical object in time is fleeting and represents a moment in a longer process. Each step changes not only the surface image and colour but the integrity of the material so that it becomes increasingly fragile.
The new normal of isolation and social distancing has had a profound effect on developing a studio practice. This was a time of loss, quiet, melancholy, confinement, home, in the wider context of a pandemic and has affected my work and the way that I am making it; an experimental practice-led approach. With the gradual reopening of the workshops, it has been possible to explore the addition of photo etching and screen printing to the pieces.
In response to my earlier cyanotypes on packaging, I am exploring themes of memory, time, and melancholy and how they can form part of a visual language in combination with other processes and materials. Making copies of a discarded packet that has been printed onto, alludes to the passing on of memories and their distortion and loss over time.
I am aware of the absence of the human form in my work. I am interested in the suggestion that they were there and that they may return, by the images used and the discarded packaging, suggesting human activity. Turned inside out as scaffolding or an articulated spine, arranged to obscure and create associations.