Artists Statement

'The Art of Invitation'

"Our work responds to people; to conversations, social structures and inhabited landscapes. We create experimental interventions which affect the way people behave. Those who experience and reflect on our work become the ongoing and ever changing expression of that work - we value the way in which the viewer reinterprets and reinvents what we have made." M+R

Our installations explore social constructs in contemporary society and question our understanding of community, belonging and engagement. They follow pathways, mapped lines and historic journeys, both literally and metaphorically.

We make art which intervenes in public spaces to change the way people behave. We explore site specific installation as a means of presenting, sharing and challenging ideas as a catalyst for positive change. By contrasting the permanent physicality of manufactured art with ever evolving metaphysical memories of an experience we aim for more poignant definitions of an art-'work'.

What constitutes an art gallery when there are no walls, no invitations and no private view? Our work is not usually gallery based and yet there is always a stage on which it is exhibited. How, where and when does artwork exist in an undefined, transient state acknowledged only by the spontaneous responses, and subsequently memories, of those who come into contact with it? Nothing is permanent. All is temporary. Thoughts and ideas modify and change with time. This is where our art is sited: in the collaborative process of changed thought.

We are interested in the notion that art holds the power of 'intermediate negotiation'; existing in the spaces between known opinions. It is a unique form of negotiation where there is no agenda to sway or judge opinion one way or another. We use this position to pose questions without being restricted by preconceptions or personal interests. Music and the visual arts have the potential to cross boundaries otherwise blocked by political or social factors; The exploration of this hinterland as a making process requires open minded collaboration which often results in the manifestation of an action or a performance being more valuable than the physicality of something produced.

The fluid and unpredictable nature of our practice is largely the result of invitations. Our investigation of the connectivity of time, emotion and landscape are constant while projects evolve in relation to the people we meet, the places we visit and the cultures we work in.

The materiality, form and behaviour of our practice begins with questions: How big is a space? How does it feel / sound / move? What is the context? What is the history? What is the future and who occupies the space? How does a person feel in the space? What are they thinking about and what would they like to be thinking about?… And so from invitations our practice grows. We are challenged to work within new parameters on a quest to establish and reveal art in the unexpected moments between recognised events. The audience becomes the substance of the work and the finished work remains an unfinished conversation.