A tall distance

A tall distance is the beginning of a memory, almost lost, but never forgotten.

A tall distance

Ceramic, steel and single channel video 56 seconds (looped)

115 x 60 x 32 cm

Visceral

cow bladders, video projection and found object.

127 x 69 x 43 cm

Photographic edition

My limited edition prints are available in 2 sizes and come unframed. (framed prize on enquiry)

Please CLICK on the images below so send your enquiry, send me an email to isabell.heiss.art@gmail.com or click here.

Custom sizes are available to a degree on enquiry.

Statement.

A tall distance is the start of an investigation into grief, memory and maternal lineage.

How do we remember people who passed on? What remains or changes over time? Who am I without this person? How can we face the loss?

When I was 18 my mother died. I clearly remember her being at my birthday, wearing a wig, hiding what was going on. The months after that are hazy shapes, fragments. I remember the night she passed very vividly. Her funeral is more like a shadow.

Memory changes constantly, parts fall off the edges and colours change. With these changes, the person I remember changes too.

The film A tall distance attempts to rebuild some of these memories around my grieving over 20 years ago. I tried to reconstruct who this woman was to me, and who she is now. She was beautiful, fragile, hurt, cold, my heart of hearts and so distant. The magnolia is her in every way, pristine and impressive but easily spoiled. She shatters when she hits the ground of a hard truth, her shards have sharp edges, she can not adapt, but even in her brokenness and wilting there is beauty.

I saw these moments while editing the video. This is where the photographic editions come from. A precious pause on the way to destruction. A halt before she’s gone.

The installation Visceral explores the the point in life where the spiritual and physical often become one, when someone is passing on or one passes on oneself. Drawn from my own experiences and observations, the work attempts to give form to the moment of transpiring spiritual forces and visceral responses, where long lost beliefs emerge and somatic responses can be all there is. 

Casually hung on an every day object, three preserved cow bladders in various stages of “health”, from youthful expansion to deflated and scared confront and connection with the physical reality of death. The video projection, a seemingly ephemeral image of a flower moving into turmoil and mist, a link to the inner affirmations we didn’t know were there. A convergence of beliefs and responses, innate acts deriving from early learnings instinctively emerge.

With this body of work I venture to make sense of loss and question beliefs that seem to be there without intention.

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