Jo Where in the world

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When Our Horizons Meet_CCP 2013 (Front door installation) Vinyl, glass, dimensions variable

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When Our Horizons Meet_CCP 2013 (Window Installation) (Permanent Acquisition) Vinyl, glass, dimensions variable

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When Our Horizons Meet_CCP 2013 (Installation View 01)

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When Our Horizons Meet_CCP 2013 (Installation View 02)

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Where Nothing Else Matters #2, 2013 Archival pigment ink on cotton rag, acrylic, Victorian Ash timber 60 x 60 cm

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Where Two Oceans Meet (Diptych) 2013 Archival pigment ink on cotton rag, acrylic, Victorian Ash timber 90 x 90 cm each

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Where I Have always Been (An Island) (Diptych) 2013 Archival pigment ink on cotton rag, acrylic, Victorian Ash timber 37.5 x 37.5 cm each

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Where I Have Always Been (An Island) 2013 (Detail)

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Where A Circle Meets A Line #2 2013 Archival pigment ink on cotton rag, acrylic, Victorian Ash timber 37.5 x 37.5 cm

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Where I Will Never Be 2013 Archival pigment ink on cotton rag, acrylic, Victorian Ash timber Dimensions variable

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Where I Will Never Be 2013 (Detail)

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Where We Will Always Be 2013 Acrylic, Victorian Ash timber 60 x 60 cm

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Where We Begin (Sunless) (Digital Version) 2014

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Where We Begin (Sunless) 2014 (Installation View) Archival pigment ink on cotton rag, acrylic, Victorian Ash timber Dimensions variable

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Where I Have Always Been (An Island) #4 2014 (Digital version)

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Where I Have Always Been (An Island) #4 2014 Archival pigment ink on cotton rag, acrylic, Victorian Ash timber 45 x 45 cm

 

I have tried to select images that translate into 2D, as my work relies on the subtlety of direct encounter and a process of spatial discovery, I hope these images provide you with SOME indication of my photo-sculptural practice and the means of place-making I experience through my works. I see landscape and photography as active and ongoing elements.

All works consist of the following material palette:
Archival pigment ink on cotton rag
Victorian Ash timber [stained and unstained]
Acrylic [clear and tinted]
Vinyl [on windows and doors]

Some works that do not appear to have photographs are acrylic abstractions that accompany my images.
I see these works as landscape works and photographic in nature, though they do not contain photographs, as such.

 

The photographic image is but one pliable component of my spatial practice: an object whose material condition holds much conceptual potential. The relationship between the photograph, the sculptural act and the exhibiting context is an active process. I aim to implicate these elements into the language of landscape and explore the conceptual and phenomenological scope of this relationship.

 

All images © courtesy of Jo Scicluna

www.joscicluna.com