| EMILY NORRIS | ST. MARY'S PROJECT 2009 |
A place could become familiar.Backyards become boring, overworked, overplayed - flat. Space does not spark the stream of consciousness it had in the past. But there are areas that can be revived. Scanning the yard, I find a hydrangea bush. I can cut a blossom from its roots, and put it into my grandmother’s vase. Reflections appear; surfaces meet for the first time, layers act upon each other. Memories come rushing to the surface, new ideas are presented, and habit or intuition keeps these ripples alive. Two trees form an arched doorway to the river. A brick wall cuts off the glowing orange pile of leaves. Specks on a shoulder match those of a jetty that floats in the distance. Edges of geometric surfaces against fluid and irregular forms are curious. A border, a frame, or an edge is just as important as the adjacent image. A collection of media and experience affect the way we perceive our surroundings. I want to combine reproductions – drawings, photographs, memories, models. Constructed space made up of layers of surfaces and material can extend the boundaries of a place. Reflections and layers distort and deceive. Numerous threads of contrasts and comparisons keep associations active. You should waver in between a satisfied and strange point of view. Challenges arise in the explanation of this rearranged yet familiar space. There may not be room to rest. A series of panels cut apart attention onto a singular plane. There is not a set solution; the pieces do not fit neatly together. Space, time, and thoughts are always on the verge of resolution. If rearranged effectively, I am able to look at a place with a fresh set of eyes. Reflection occurs. A passenger side window warns that objects in the mirror are closer than they appear. There are traces of familiarity but thoughts are also able to surprise– jump out of blind spots. An old pond, your backyard is rearranged and able to captivate and inspire. Through making art, I have learned it is important to work what you have. To understand what is going on around me before I move on towards the next flashing light. The way I collage source material helps to both explain and expand the space where I reside. I am able to absorb the landscape and construction of space. This fusion of the natural and digital in my work is about a hyper-real experience – it stops and starts in fragmented harmony.
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