Death in Geological Time, June 2018
Slade School of Fine Art MA Degree Show
Multimedia Installation, HD Video Projection, Scaffolding, Graphite Dust, Glass Wax, Jesmonite and Steel
All work © Amanda Rice, photographs © Amanda Rice, Mark Long and Jordan Hutchings
About the artist
2016-2018 MA Slade School of Art, London
2004-2008 BA Hons Fine Art/Distinction, Crawford College of Art and Design, Cork.
2006 Socrates Exchange Program: North Karelian Polytechnic of Art, Joensuu, Finland
For an up to date CV including exhibitions, please visit the artist's website
About the work
Death in Geological Time (2018) is comprised of a double screen film work and series of sculptural objects which explore themes of death, time and authenticity relative to the current geological epoch.
Collectively, the works which make up this installation straddle two sites in both a geophysical and temporal context. The first is that of a cave – one specifically utilized as a space of funerary rite and excarnation in Neolithic Ireland. In Irish mythology, caves represent passageways from the world of the living into the subterranean realms of the dead. Direct casts of the outer surface of this cave mark the boundaries of such a transition, where bodily mineral and materiality progress toward the rock record though contact with the cavern surface.
From the edges of the Holocene, the viewer emerges at the contemporaneous geological paradigm where the film works, set at LifeGem labs, illustrate the process of the creating ‘memorial diamonds' from carbon extracted from the cremated ashes of human remains. The material subject of the film - the dust of the human, is subjected to the diamond press, an act which bypasses the subject’s ‘natural’ progression towards the fossil record. Time is superseded, the body eradicated, and reified in the most coveted of stones; the preservation of humanity in the most desirable of lithic forms, the ultimate anthem for the Anthropocene.
The film takes the form of a pseudo advertisement which reveals industrial ingenuity at its most absurd. Collectively, the works exemplify geological material as de-stratified and dislocated from both location and original form, where impressions of ‘natural’ stone is cut with reified crystal conjuring up visions of a speculative human-constructed layer of geological detritus, one where both time and material is somewhat out of joint.
Text provided by the artist