Rhiannon Ferguson

Abeyance

Fine Art - MA (Hons)

School of Art

rhiannon_ferguson@outlook.com

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R. Ferguson, Abeyance.pdf (832.5 KB)

R. Ferguson, abeyance: a book is a portal, documentation of performance within the sculpture abeyance, steel, recycled chain and mail, 185 x 150 x 100 cm, May 2022

Artist Statement

Abeyance refers to the passage of time in suspense; for example, Arthur’s sword, Excalibur, waits in abeyance until it is claimed from the lake or pulled free from the stone. A book is held in abeyance until you turn the first page. My graduate show sculpture represents the gateway to fantasy space, or the sense of absorption that I experience whilst reading.

Conceptually, the desire for escapism is central to the work. I have specific interest in Scottish landscapes, folklore and mythology which has thoroughly informed my fine art practice. My interest in medievalism and romanticism creates an art historical backdrop to my contemporary work. My history of art dissertation focussed on Arthurian topographies in Celtic Revival paintings, and I visited archaeological sites across lowland Scotland as part of my research for this project.

The passage of time and traces of history are key themes; and the creative process of making mail from aluminium and steel wire contributed towards this conceptual development. Using chain and woven mail draws upon established romantic visual culture.

R. Ferguson, abeyance, steel, recycled chain and mail, 185 x 150 x 100 cm, May 2022

Detail of chain and mail sections of the steel sculpture, abeyance

Detail of sculpture, abeyance, taken from the underside illustrating the object's correspondence to the classical architecture of the Edinburgh College of Art Sculpture Court

Abeyance: Documentation of Performance

In an accompanying time-limited performance, I step into, occupy and read quietly within the sculpture. I constructed my sculpture from steel and it measures 185 x 150 x 100 cm. The scale encourages the viewer to consider their relative proportion and ability to occupy the negative space. The curvature of the frame is reminiscent of an antique mirror and responds to the classical architecture of the Edinburgh College of Art building.

Inside the frame are woven, interlacing chains and sections of mail. I welded eyes onto the reverse of the frame to affix the chains. The chains seamlessly attach to the frame, concealed from the front, demonstrating a lacelike, intricate handling of the material. The steel structure emulates the appearance of a spider web, which contrasts with the heavy and cold nature of the steel. Photography is used to illustrate the ethereal land to be discovered upon passing through the portal.