Links

'Projection 27', Rosie Keane, 2012, digital collage / installation.

Links can be found in the way that the structure of building, the grid like connections is essential to my practice, although the structures I exploit are concerned with an aspect of the domestic or the faux domestic, furniture, home or hotel room based, and now for my degree show piece a dialogue between the doll's house and memory of public place and ownership.

Reduced to it's very basics the structure of the grid has appeared somewhat unintentionally in my work for years and for me, I think somewhere subconsciously it must represent some kind of personal association with interior vs exterior, internal vs external and fixed space vs transient.  To be within the grid offers shelter and protection, but also enclosure and imprisonment.  Just as a prison cell, a hotel room, a bedroom or a house conforms to my obsession with 'The Grid'.

'Ornaments', Rosie Keane, 2012, photograph of installation.

It's only recently that I've become aware of the recurring 'grid' in my work and it's only now that I am trying to understand what this means.  I feel the above piece, 'Ornaments' is able to illustrate the borders between the bordered enclosed and the unmapped exterior.  The visual structure of the shelving unit echoes that of a high rise block or a filing cabinet where objects or people are confined and compartmentalized, we order our possessions in this way, we decorate our enclosures to disguise the actuality of the grid, to denote our ownership over the space, to make it our own and in that way we feel as if we belong to it as much as it 'belongs' to us.  What lies outside the grid of comfort is the unknown, without ownership and colonization of it, it becomes empty, a void and a vacancy.

A vacancy, the uninhabited, also refers to a hotel room or a property which is waiting for something, for inhabitancy, so in that way the vacant and empty can lie on either side of the grid.  What this grid means in terms of my practice I still don't know, but somehow I feel as if it is important.  It is now that I release that the three figures in Bacon's triptych are also enclosed in the grid.  Perhaps this was something I was aware of all along. Not only compartmentalized by their arrangement within their frames, but also by the lines within each separate painting, the figures exist within the enclosed.