This idea came from a spontaneous desire to create a twister mat, and so passionately declaring that I wanted to make a twister mat to my peers in the studio, Bea then suggested that I use my pinhole camera and place it above the twister mat! This was a stroke of genius on Bea's behalf and led to this sketch of the idea on the left. I then went forth and painted my own twister mat shoddily on a giant piece of paper that I had to hack off a never ending roll. It felt as though this was a natural progression from the 24 hour photo, playing around with exposure time and movement. The proposal collage on the right was actually pretty accurate in how I wanted this to turn out visually in the space of the Copeland gallery. In being able to have a space to exhibit and experiment with construction and spatial awareness, I was grateful that this project came to mind as the exhibition was being prepared. The idea of bringing twister into a gallery space was entertaining as well as the prospects of it being some form of performance art that didn't rely solely on myself.

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Having presented the twister installation, I came across a mass of different things I learnt during the process. In letting the work speak for itself, I was hesitant. I felt compelled to stand by it, and aid it along, encouraging people to join in, but as I was about to step in, a group of people took up a game of their own accord. I think that was a definite moment in teaching me to let my work speak for itself, as I have already spoken into it. I think this lesson translates to other pieces and the way I label them. For this piece I experimented with how much information I should give about the pinhole camera's supposed documentation of the twister players. In this instance I only referenced the camera in the components of the piece on the label, which I think was a successful and subtle way of suggesting to people that what they were taking part in was something more than just a normal game of twister.

 

After some discussions, I came to enjoy the idea that actually this installation was a combination of 'almosts'. The twister mat was almost a painting but not quite, the pin hole camera was almost a camera but not quite and the people playing twister were almost performers, but not as we know them to be.

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As if all the activity upon the mat had been erased, these pictures come up with no people. A quite morbid suggestion that people disappear with time, as I left the shutter of the pinhole camera open for far too long, as if it had enough of the people in its mouth and regurgitated them.

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The contrast to the colourful activity of the photos from the exhibition evening, makes these twister mats look like gravestones, or something to show that the people are not there anymore.