Caroline Macdonald RCA
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Caroline works with an emergent, responsive surface that simultaneously flows and ossifies the movement of pattern or form. She typically starts with an object or material observed in the world. At the RCA she has been working with fugitive materials and process such as tin foil and paper marbling . Once recorded (usually through drawing or photography), she builds up layers employing different generations of print media to suggest movement in the surface of the work. Her use of paper marbling and the digital drag of the glitch serve to destabilise her surfaces and invite readings around failure and uncertainty. Reflections and mirrors, combined with folds, create further unpredictable repetitions and depths across two- and three-dimensional work.
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Caroline works with an emergent, responsive surface that simultaneously flows and ossifies the movement of pattern or form. She typically starts with an object or material observed in the world. At the RCA she has been working with fugitive materials and process such as tin foil and paper marbling . Once recorded (usually through drawing or photography), she builds up layers employing different generations of print media to suggest movement in the surface of the work. Her use of paper marbling and the digital drag of the glitch serve to destabilise her surfaces and invite readings around failure and uncertainty. Reflections and mirrors, combined with folds, create further unpredictable repetitions and depths across two- and three-dimensional work.
Caroline works with an emergent, responsive surface that simultaneously flows and ossifies the movement of pattern or form. She typically starts with an object or material observed in the world. At the RCA she has been working with fugitive materials and process such as tin foil and paper marbling . Once recorded (usually through drawing or photography), she builds up layers employing different generations of print media to suggest movement in the surface of the work. Her use of paper marbling and the digital drag of the glitch serve to destabilise her surfaces and invite readings around failure and uncertainty. Reflections and mirrors, combined with folds, create further unpredictable repetitions and depths across two- and three-dimensional work.
