The process in the formation of a work of art and investigating non-traditional sculpture materials are paramount concerns to my practice. Inherent motivations, rationale and intentions are also consistent preoccupations along with the effects of serendipity.
In 2010 I traveled in Europe for four months, visiting twelve countries. Constantly on the move, a knitting project became the vehicle to work while having no fixed address. All wool fibers were acquired along the way.
Currently the work consists of six suspended, soft-relief "scrolls", each hung from a turned maple or pine spindle. Their dimensions vary with an average size of 14" x 8'/36 cm x 244 cm. Forming an abstract visual journal, episodic pattern and colour construct shifting narratives of the quotidian as well as issues of duration and discontinuity.
The complexity and scale of this investigation, as well as research into colour and iconic imagery, are all new challenges undertaken at this point in my practice. Conceptually this work also engages with contemporary art's discourse of the role of the hand, materiality and the virtual, including renewed interest in questioning craft and visual art designations.
Topographies was first exhibited at Patrick Mikhail Gallery (Ottawa) in 2013. In 2014 five of the works were shown at The Gladstone Hotel (Toronto) as part of Hard Twist 8: This is Personal.
Deborah Margo’s Topographies weave matter with memory, essay by Randy Innes, Guerilla Magazine (Ottawa), Saturday, March 16, 2013, [details]
Topographies: New work by Deborah Margo at Patrick Mikhail Gallery, review by Diane Bond, March 15, 2013, [details]
Oh! What a web we weave, Diane Pellicone, Carleton University Art Gallery’s Art Critic-in-residence, winter 2013, [details]