Caroline Tobin responds in writing to some questions posed by Charlotte Knox-Williams


In what sense does your work engage with the theme of the exhibition?

*The idea of rupture for me, relates to a sense of negating expectation and belief in an image.

I look at decorative interiors, objects and patterns that mask a space. I’m interested in the theatrical aspects of these interiors; lavish and repetitive forms. The imagery or events that are depicted in these interiors (such as Baroque/Italian Renaissance) for me are unimportant, the drama is in the form. I try to empty these sources of meaning and focus on the form and material I’m working with to recreate this staging and drama. For me the rupture occurs during this process, where the material and process used to make an image overtakes any attempt to depict the original.



What do you feel is the role of materiality in your work?


* The materiality for me lies in the making of the work; duration, process, labour, the physical substances that make up the work, a general finding-a-way for it to be in the world. The processes I engage with are emblematic of my relationship to the objects I’m looking at (interiors of classical architecture, Baroque sculpture etc.). I want to be part of these things, inside of them somehow or to touch them in some way. The process I embark on is an attempt to bridge this gap, to make the distance shorter in some way however I find this process of trying to capture something kind of highlights this impossibility.


Your work seems to disrupt any sense of image, perhaps sitting somewhere between pattern and picture?


*I’m interested in what I like to think of as the fabric of the image; a kind of noise such as static, pixels or grain that compose an image. With sculpture I’m drawn to repetitive forms like curves, folds, repeated emblems. In reusing these forms I want to reduce the picture plain to a series of abstract shapes. They are not trying to show you anything, they exist purely to fill space in a decorative way. They suggest objects and scenes to the viewer but they are none of those things.

I see these repetitive papers as a way of extending my drawing practice. I’m interested using a single drawing to pervade a space, to occupy a space in the same way interior fabrics occupy a home. The work I’m showing as part of Rupture is the beginning of working on a larger scale through the intimate act of drawing. It will enable me to use something produced on my lap to fill a room, which creates a very different relationship to this action.




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