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This website contains documentation of two decades of spatial drawing, installations and other projects by Margaret Roberts. This work explores relationships between the abstract space of artworks and the actual space in which they are located. It does this for its own sake, but also to explore the potential for art to provide models for new ways in which modern culture could regard its physical environment, because a radical change is needed in the way in which the physical environment is valued in modern life so as to avoid the catastrophic effect that climate change looks like having on it.

This project began with the discovery that the artwork I made was not sufficiently spatially autonomous to be successfully moved between locations without altering the location, so I began designing it so that locations were included as a component of the work.  People/viewers are part of the work because they occupy the same location and their presence indicates the live quality of actual space that the artwork also occupies. Their presence with the work also asks people to interpret the work by taking their own spatial needs for orientation etc into account. In earlier work people's movement determined the shape of the work. In later work, people's shared occupancy of space is emphasied more overtly as the work became more literally occupiable—as forms that people carry on their bodies or even take home to live with. The latter is taking the project almost full circle by making it close to the spatially autonomous objects that it was designed to move away from in the beginning, except it can still be designed to incorporate a new specific location or the physical space that is obviously part of any location. There is a great deal of misunderstanding of site-specificity - the 'site' can be the physcial space that is found in any location as much as it can be a specific location understood in terms of its use or history, and its recognition is important because it counters the lack of care given to the physcial environment that is the major problem facing the now global, modern culture.

Recently the work has also been drawing on work of earlier spatial artists, partly to time travel and meet them through their artwork (inspired by Rosalind Brodsky and Elaine Sturtevant) and partly to acknowledge the efforts of so many artists who work to raise the status of the physcial environment by acknowledging actual space in their work. This is one way in which artists actively contribute to the environmental movement. I am experimenting with the spatial artworks of Katarzyna Kobro, Wladyslaw Strzeminski and Richard Artschwager, and most recently, the artworks/buildings of Francesco Borromini, for example.

The general project includes separate collaborative projects with other artists that spill over into my own - these include working with:

• Stephen Sullivan - combining Stephen's interest in the archival process with the problem of the loss of actual space in the documentation of spatial work and installations. I have also been strongly influenced by his own (different) interest in interacting with past artists through a reconsideration of their artpractices.

• Horst Kiechle - the Straight-Line Residency Project that aims to facilitate interdimensional travel by straight lines through the design of proposals.

The Williams River Valley Artists' Project that was formed by a group of artists to bear witness to the campaigns against the Tillegra Dam in the upper Hunter area of NSW, and the destructive progress of big coal mining in the Mudgee and Maules Creek areas of NSW.

Articulate project space was begun in 2010 by a group of artists with installation or other spatial art practices. I am part of this project because it supports art practices that experiment with new relationships with actual space and time, both for its own sake, and for the models they might provide for the new ways of valuing the physical environment.