In this sensorial installation visitors explored with their hands, feeling the shapes and textures of the raw and natural materials. In this, a shift away from the visual transpired. Through senses such as touch and smell visitors can find meaning, stimulated through exchanges from the external to the internal body and the character of the material becomes the catalyst for sensory interactions. The visitor in an installation artwork is on location and is an essential element of the work, in an engagement that challenges expectations of art as a purely representational practice. The artist and visitor are together in a discursive environment.
Site – specific can transpire on multiple levels, between interrelated but different space, subjective, intersubjective, cultural, historical and locational.My interest resided in how this work is re-read when relocated in this institutional/cultural framework of the gallery in a museological context. For example, Latrobe Regional Gallery is surrounded by the timber industry throughout Latrobe Valley, the permutation of Fir set in the Sculpture Courtyard Gallery implicates the history of the timber industry surrounding this site.
Atrajectory for testing Fir at this site was to determine what might transpire for visitors concerning external weather conditions such as, temperature, wind, rain, sunshine and sound from outside the gallery walls such as, traffic, people and machinery. A crucial element of my practice led research is to test different ways my projects can be re-read when relocated and distinguish how to activate meditative environments.