‘Natalie Kate Lloyd presents a live performance that directs the viewer through a sculptural and photographic cartography, exploring the experiential memory of natural landscapes‘.
Edafu Colli is an installation performance created by Natalie Kate Lloyd as part of her degree at the University of Brighton. The installation both echoes and references her experience with the natural landscape and the memories of it through the manipulation of the space and the presentation of reflective imagery, object and movement.
The term ‘Edafu Colli’ is a Welsh term that can be translated as ‘threading loss’. The title is referencing the physical connective threading between the images and objects placed within the space, Lloyd’s choreographed activity, and the strict directive movements performed.
Objectively, the installation contains images of local or visited landscapes that Lloyd has sentimental connections with. Certain visual works contain layered visual representations of the threading, but are overpowered slightly by the scale of the supporting installation. Supporting this is a large wooden frame constructed to interrupt the white space in which the installation is placed; behind the bars of wood is an upturned tree root, twined with the surrounding frame. This acted as a subtle visual reference to a found object of similar quality as seen in a previous documentation of the work - the object being driftwood.
On earlier inspection, I was able to investigate the space pre-performance in order to familiarise myself with the images and to embrace the installation as an artwork. This privilege is shared with any viewing member of the public as the installation is open as a space both pre and post performance. From this, I was able to inspect the smaller supporting images pertinent to the subject; the images are documentary representations of the visited landscapes, positioned in a way that the smaller images are threaded with larger more prominent memories. Small details such as the composition and the placement of the images could have been revisited in a way so there is a subtle refining, in order to preserve the installations objective qualities and its visual coherence. Exploring a darkened space as opposed to a naturally illuminated room would be a potentially beneficial inquisition.
The most immediate stimulus is the collection of slate fragments on the floor adjacent to the door; signs of human interaction are evident in the marks left from previous interactions.
As the performance is prepared, the usher greets the audience into the room. The viewer is immediately confronted by Lloyd, who is leaning with support from a black loop of thick material, which is attached to the wall out of direct eyesight, her weight supported in faith by this cord.
Her orientation is relatively imposing, in relation to the expanse of the room, forcing the viewer to make a decision – whether to stand near her from the front, or to traverse beyond her and view her movement from a different standpoint. This decision can alter not just the visual perspective but the experiential perspective the viewer is presented. The slow directional movement from left to right conveys a narrative that visually leads the viewer, and also draws attention to the strategically placed images, echoing the subject matter and becoming an extension of the work through the tension of the cord and the chronological movement through the room.
On first viewing I felt compelled to view her from a distance, as she interacted with the loose slate, to allow for the flow to describe the narrative she intended and to also broaden my view of the peripheral content.
Her gradual movements of interaction with the slate bare connotations that demonstrate a revisiting of physicality of the memory, whilst literally battling with the tension of the cord and the precariousness forced by the fragmented slate.
The transitions from one movement to another are executed pristinely; a lack of fluidity would drain the viewers’ focus from the objects to the performers fallibility. Lloyd’s transitions are subtle, but all are appropriate when drawing the focus of the viewer to the supporting stimulus. The performance encapsulates Lloyd’s intentions very clearly, to draw attention to the memories that are displayed as photographs, and to draw the viewer through the installation through her clockwise movement.
On second viewing, there was a more substantial audience, which proved to offer a different perspective for my viewing and also the viewing audience. The attendees impulsively crouched underneath Lloyd’s taut cord and immediately viewed the work from a reverse perspective, this as stated before would provoke a contrasting perspective on the performance, which isn’t necessarily inhibited by the presence of the performer. I personally found that following the chronology presented in the installation allowed for the narrative to build, as Lloyd intended.
The climatic stage of the performance includes Lloyd drawing herself near the proximal point of her cord, controlling every movement with strict attention, and detaching from the support. Then she takes a hammer and begins attaching a pre set image of the previous take of the performance to the wall with attentive precision. The solidification of the final images’ symbolism resonates through the entire performance, offering a progression towards a conclusive ending.
Lloyd’s personal development is focused on refining her attention to detail, both the objective details and impactful qualities of her motions. This is naturally achieved through her involvement in the performance.
The subtleties of her work accumulatively substantiate the installation, where her interaction with the space finalises the entire work.