2023

Ali-Disandolo

3D hand prints

(1/7)

Ali-Disandolo

3D hand prints

(2/7)

Ali Disandolo

Chair plan

(3/7)

Ali Disandolo

Chair plan

(4/7)

Ali Disandolo

Clay hand indentations, Dimensions

(5/7)

Ali Disandolo

Clay hand indentations, Dimensions

(6/7)

This year have worked collaboratively with one of the members of the Us and This Collective to understand the diagnoses of the condition ‘endometriosis’ Her personal experience of gynecological diagnoses has led to an ongoing investigation of the communication around medicalising the female body; the language and visualisation of what might be 'wrong' that in turn creates psychological turmoil. The sculpture shown here was the first visual piece I produced. It was made for her as an offering, a distraction whilst she awaits news regarding her condition. The work can be played with like a toy from a hospital waiting room.
Makings of a chair for my friend (ongoing collaborative work (2023))

The initial sculptures (top right were made by her hands squeezing into lumps of clay The next stage was to digitally scan the sculptures inte 3D modelling software where I manipulated them onto the legs of a waiting room chair. My friend has been undergoing the diagnosis of a gynecological illness that has involved seeing her placed in different hospital settings before her body is under medical scrutiny This idea arose from the idea of hospital environments making their patients experiences darkened by the anonymity and reproducibility of the spaces furnishings. Individual permeability within the medical setting is a concept I attached to these works in order to create a system of cale and personalisation to the understanding of my friends experiences. Through the casting process these clay sculptures will be reproduced into a long lasting relic. By permeating the exchange between my friends body to the natural material of clay into a harder material, we are extending the history of a memory The future of these objects is uncertain but will be adapted as we see fit. I then used the 3D software to attach the hand scans orto chair legs inspired by waiting room furniture. The resolution to this project was left open-ended as the intensity of these designs have since shown a message about my friend's experiences that is diffèrent from what we both wish to communicate.

Anamorphic Glow (Box 1 & 2)

Canvas, Wood, LED's, 30cm x 49cm

(1/3)

Anamorphic Glow (Box 2)

Canvas, Wood, LED's, 30cm x 49cm

(2/3)

Anamorphic Glow (Box 1)

Canvas, Wood, LED's, 30cm x 49cm

(3/3)

Atelier la Juntana cohort, 2023

Ink etching on paper, 29cm x 42cm

(1/8)

Atelier la Juntana cohort, 2023

Assortment of tiles, Ceramic,

(2/8)

Atelier la Juntana cohort, 2023

Casting of tiles, Aluminium,

(3/8)

Atelier la Juntana cohort, 2023

Casting of tiles, Aluminium

(4/8)

Atelier la Juntana cohort, 2023

Resin models

(5/8)

Atelier la Juntana cohort, 2023

Resin models

(6/8)

Atelier la Juntana cohort, 2023

Resin models

(7/8)

Studio shot of Atelier la Juntana

(8/8)

Blue Face

Oil on canvas, 38cm x 54cm

Emblems by Torch Light

Recycled wood, Plasma cut steel, Oil on canvas, Film projection

(1/9)

Emblems by Torch Light

Recycled wood, Plasma cut steel, Oil on canvas, Film projection

(2/9)

Emblems by Torch Light

Recycled wood, Plasma cut steel, Oil on canvas, Film projection

(3/9)

Emblems by Torch Light

(4/9)

Emblems by Torch Light

(5/9)

Emblems by Torch Light

Oil on canvas, 109cm x 72cm

(6/9)

Emblems by Torch Light,

Recycled wood, Plasma cut steel, Oil on canvas, Film projection

(7/9)

Emblems by Torch Light,

Recycled wood, Plasma cut steel, Oil on canvas, Film projection

(8/9)

Emblems by Torch Light,

Recycled wood, Plasma cut steel, Oil on canvas, Film projection

(9/9)

‘Emblems by torch light’ was derived from the experience of exploring my home environment in solitude, in the dark. These explorations by night became a visceral exchange between myself and a landscape I had previously used as a means to an end, a place to pass through without accepting its natural offerings, or lack thereof. As someone who has moved house often, I have often found myself on different commutes as a young woman, trying to pass from A to B unnoticed or unwatched. My current home has somewhat ridiculed me by this standard from its history of never offering me a single stranger to come across on my journey home. An extended period alone in this environment cascaded me into holding my own in the dark. I began to notice the man made structures that interjected with nature during this time, the intermittent gates and barbed wire, barns, private land signs, the chains across the farmers fence. For the first time, I observed these as aggressive and eery. These interruptions and signals of space and time for the production and worth of nature led me to want to personalise them for myself. I wanted to attach signals of my own that worked on a different time frame and appeared to me when I lingered for long enough for them to show. I designed a set of Emblems that orbited around the architecture of the ‘farmer’ but resembled charms with armour, portals from another time that chose to appear.

Emblems danced in the domestic bird bath radiant in their sanctimony, a hint at the safety of their surroundings. While others flickered, as if in ill health, gripping onto the farmers industrial chain, a warning sign to move away from the enforcement of the privatised. The dialogue between the digital and analogue techniques was inherent to changing the currency of time and the notion of transportation into something personalised to my sense of new found belonging within the space. To now have this film as the dominant narrative of my home landscape is important to me due to knowing that these emblems are there, existing on their own lifespan parallel to the sensations of mundanity enforced by the logical framework of human architecture.

Target

Oil on canvas, 41cm x 43cm