Fiona’s practice examines sites through a mode of interpretation that
resembles an act of archeology, but an archeology of the present. Hoarding boards are employed as aparenthesis. In the context of writing, parenthesis is usually marked off by brackets, dashes, or commas, a
word or phrase inserted as an explanation or afterthought into a passage which is grammatically complete without it.
Hoarding boards are a commodity, bought, sold, and
repurposed, used to board-off sites of construction or renovation; sites that are not accessible to the public, or are privately owned, and meanwhile block-out and obfuscate what lies behind
or between. Within the context of the installation, the viewer is invited to consider these uniform, utilitarian objects sculpturally, to examine their surfaces forensically, to gaze upon the natural wood patterns, where the knots have fallen out (typically filled-in by the manufacturer), for here lies an opportunity to see
The markings in the wood resemble the rings and lines found in aerial
or satellite photography. Images that are taken from above, from the perspective of God, and Google’s satellites; beyond the parameters of state-owned territory. The ‘before’ and ‘after’
shots of areas of the earth’s surface establish a narrative, a ‘dialectical montage’, incidents appear as visible changes to the land’s surface, conjuring an archeological gaze upon sites of
conflict or transition.
The boards conceal and reveal, and narrativise what is
behind and between them. But what is unseen? - The missing event. It cannot be captured in the images themselves but exists in the ‘gap’ between them. Perhaps the event’s absent
representation corresponds to the effects of trauma that prompt the erasure or repression of these events? ‘Before’ and ‘after’ images frame time; the event edited out, the result is a
ruptural experience of particular moments, of aftermath; past and present blasted out of linear sequence.
Nadia Quadmani is awriter,artist and translator based in London and isagraduate
of the Royal College of Art’s Critical Writing in Art and Design MA Programme. Nadia is alsoanalumni of
Middlesex University, where she obtained her BA in Fine Art.
Fiona Quadmani maintains a multimedia practice,
working through printmaking, photography, film and installation. Her work navigates themes concerning image and index, place and perspective and borders and boundaries. Investigating and
documenting by means of photography, a number of ‘sites’ where buildings are caught in a moment in time, wrapped in the ‘security’ – ‘keep out’ of these hoarding boards, with particular
interest in the ‘before’ and ‘after’, and the ‘space’ in between. She studied for her BA in Fine Art at Middlesex University, (2014) and completed her MA Printmaking at Middlesex University,
(2016). She has exhibited in ‘Broken’ at The Tricycle Theatre, Nov-Dec 2011, at Beaconsfield London in a group show, 2014 and at The Truman Brewery, 2014.