Sarah Dunn is an artist whose practice focuses very clearly upon the observation and consideration of her immediate cultural and natural landscape. Through a process of careful documentation and patient archiving a catalogue of elements is built, within this, its many indexes may now evolve and shift. This ‘catalogue’ may be regarded as an accumulation of stimuli, one in which objects transmute sensibilities; buildings become new habitats, patterns become language and books become birds.
The work uses drawing and writing to begin, it is sculptural, sensitive to changes, personal, social, political, but firmly rooted in the traditions of form, craft and observational relationships.
In Between Fear and Mother Love is an entry into the index of observation. It uses the three totemic birds, the Bittern, the Woodcock and the Nightjar as symbolic chapter headings into which the objects, textiles and elements within the work are placed. These objects carry more than the sum of their parts. However, The canny observer will also find memories, emotions and experiences. The library of these birds is an echo chamber, a place of responses.
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