Daisy Lafarge explores language in a multitude of ways.
Take, for example, her tandem of work for Between poles and tides. We see her video Not For Gain (2013) presented as a mysterious intertwining of sound, video and language. The film uses Lafarge as narrator to speak of border controls and migration, against a background of botanical gardens.
Next, we encounter Lafarge as author within her text ‘Slice the Delicate Network’. Her writing begins with reflections on the title Between poles and tides itself, and then begins to transition into the exploration of the work of other artists in the exhibition; from the rhythms of Katie Paterson’s clocks to the floral commons of Ian Hamilton Finlay’s paintings.
From considering these two approaches to artistic labour, we spoke to the artist about the process involved in creating her work for the exhibition:
I can tell you that to me the text and the film aren’t that different; in the early stages of Not For Gain, I was writing but I didn’t know what form the writing would take. This is often the case! I didn’t know if they were poems or part of a prose piece – I didn’t realise I was working on a film until fairly late on. Then I edited the footage and the text in tandem. I tend to spend quite a lot of time in that ‘not knowing’ period which is maybe also reflected in the text that shoots off in a myriad directions, without really prioritising one over another.
In her newly printed text, available to take away from the exhibition, and to download from the gallery website, Lafarge takes readers on a journey through Between poles and tides, from the inception of the title to the writings of Jean-Jacques Rousseau.
Stop by the exhibition, on till May 6, to experience the two halves of her work.