"I felt that my own work was now becoming identified with my person…whatever one paints must be constantly re-examined, torn apart, if that seems to be indicated, and reassembled in the light of new attitudes or new discovery."
‘The Shape of Content’ by Ben Shahn

The work undertaken in the last few years derives from a continued interest in memory, identity and the potential for capturing a moment in time from my own personal history. Sometimes this has been a direct reference to a real experience or one that has been imagined. With these ideas in mind, the pieces for each exhibition take the form of 3D dress constructions, encapsulating particular styles, attitudes and personalities known to me across successive generations. Indeed, through the process of reflecting and making, particular insights into the lives of past wearers as well as events surrounding their existence are frequently revealed. Alongside, external sources like old photographs are sometimes referenced to determine direction. For instance, whilst initial reminiscences about my mother’s ‘Venetian’ skirt provided the springboard for making the exhibition ‘Melodies Unheard’, analysis of a particular snapshot featuring her wearing the skirt, proved to be vital in sharpening, revising and extending my ideas. Furthermore, it was influential in guiding work for the final presentation, revealing new and different perspectives about those included and shedding light on themes associated with close family ties and related conflicts. In a similar way, an external source played a major role in the development of work for the ‘Frozen Moments’ installation. Here, images on an old album cover became the trigger for imagining and making a selection of 1950’s ballroom gowns apparently ‘dancing’ to the music of the Victor Sylvester orchestra.

The figure has always been a central focus in my work and a vehicle for personal expression; however, in more recent times, ideas have been embodied within dress structures made from recycled materials, notably polythene. These are then lit from within and presented in dark environments to appear as ghosts of past identities. Some installations have also incorporated sound in various ways to enhance the atmosphere of the moment as well as encapsulate emerging themes.

The most recent exhibition, ‘Re-imagined Worlds’, was inspired by memories of school and feelings associated with imposed conformity. As before, the making process proved to be revealing and illuminating, enabling me to layer rather negative, preliminary ideas with more positive perspectives emerging. Ultimately, however, the fragile yet robust nature of selected materials, forms and identities determined the extent to which uniformity was embraced and/or resisted.

In practical and theoretical terms, the recycling process has provided me with a vehicle for deconstructing my ideas about memory and identity whilst also considering the wider social, cultural and personal implications of these areas. Within the last three years, making the individual installations has enabled me to address particular qualities and conflicts inherent in human nature in addition to hopefully initiating thoughts that are personal to the viewer as they contemplate their own past.

Alison Hermon
September 2008