We are looking forward to welcoming back Ainslie Murray to Eden Unearthed 2017.
Specifically, Human Hostilities looks at the use of bird spikes on buildings as devices that we employ to control the way in which species interact with built forms in architecture and landscape architecture. It addresses the use of bird spikes as an act of ‘kindness’ within an overarching context of hostility, and explores the tensions between these ideas.
These works are vessels. They are made from bird spikes. The bird spikes are sold as a ‘humane’ form of species control. Though beguiling in gleam and form, they embody an unthinkable hostility toward the other. They come from a place of control and of borders – were they to speak, you could barely withstand the torrent of abuse. The assumption of the right of aggression toward another species insulates you from grasping the horror of these objects.
These vessels, constructed as a humane form from hostile objects, inscribe a passage through the world. They mark both earth and atmosphere as they simultaneously mark those they carry. In their wake is an unknowable and perhaps unspeakable history. The inscription of the passage is a record of loss – a record which is immediately obliterated by the fluid ocean and air, but which is again made visible through the mystery of daily physical displacement. Look to the bird that flies past you just now and to the person that stands quietly beside you. There is nothing you can say to explain your hostility.
This work has been developed in response to working at the intersection of art, architecture and landscape. It is a response to encounters with the myriad species that share these spaces.
Ainslie Murray is an interdisciplinary artist, architect and academic working principally in installation. My work explores the augmentation of architectural space through subtle realisations of intangible, hidden, and forgotten spatial forces. The air of architectural space, the choreography of the body, and the repetitious rituals of the construction process each find a focus in my work. The two and three-dimensional works may be considered as active architectural spaces, where undulating surfaces draw attention to both artefact and process, and evidence sequences of conception, assembly and inhabitation.