Four Plinths: Background
In the home-studio garden in 2014, I devised a formally laid out ‘black border’ and thought I would integrate some plinths or pedestals as spaces for sculptural work that I would then make in the future.
Time passed, the plants settled in but the plinths remained empty; ”Four Empty Plinths” I joked to visitors, referring to Trafalgar Square’s ‘Empty Fourth Plinth’.
I decided to make use of the plinths’ empty potential and invited another artist to respond and develop work, the general idea being that the work was materially mostly black and used the 40 x 40 x 10cm plinth.
Above: Plinth People in the studio garden, August 2016.
Above: Constructing ‘thatched things’ for use in ‘Plinth People’ collaboration.
I thought of Paradox Paul as an artist particularly in relation to his past photo series ‘Plinth People’ where he and his partner Maya Malfatti found random street furniture to stand upon whilst dressed ‘in the absurd’.
I approached Paul and mooted the idea that a variation on his plinth people but mostly in black could be interesting. Paul suggested it should be a collaboration and I set to work on devising a set of holdable works – ‘Thatched Things’ to add to the mix on the day.
A group was co-ordinated for a ‘performance’ in August 2016. Black clothing and accessories were gathered. The process involved the group arriving, dressing each other up and then moving out into the garden to follow either mine and/or Paul’s rough directions, or going with the flow of individual responses.
Paul Woods a.k.a. www.paradoxpaul.com
Many thanks to the participants Maya Malfatti, Mark Dickson, Paul Windridge and Lynn Bilton.