Rosalind Davis is an artist whose central concern is the transformation and reconfiguration of space through multiple disciplines. Beginning with the highly rationalised and objective language of architecture, Davis dis-assembles its geometries to re-create new and multifaceted spaces. The resulting environments probe the relationships between both the physical and psychological aspects of space.
Constructed from modular elements these site-specific installations are re-assembled afresh for each exhibition and respond according to the particular architectural conditions of the site, such as scale and light. They are constructed using flexible individual elements such as steel frames, transparent and luminous perspex sheets, thread and monochrome paintings. The steel structures allude in their scale and proportions to windows or doors - portal like openings that allude to the boundaries between spaces. Incorporating both 2 and 3D models of space engages the viewer in a process of looking, interpreting and constructing space for themselves through their own individual experience. The subjective and dis-orienting nature of the work establishes relationships between the personal and the systematic, highlighting a disparity between the imagined and the real. This seeks to re-claim the failed ideals of modernist space and intimate a more personalised space of one’s own creation.
Her paintings and drawings are part of this same process but in 2d form representing another 3d space where complex interior and exterior spaces are collaged together and abstracted and,like the installations, these 2d works have a disorienting and subjective character, establishing a relationship between the personal and the systematic.
Threads often intervene in her works; their tautness dissecting boundaries and creating shattered geometric planes, the imagery being literally pinned down, sewn up and threaded together. The use of thread often traditionally refers to the feminine and domestic activity of making, repair and creation but here consciously punctures the predominant male domain and hard edged aesthetics of modernist architecture, geometric abstraction and design.