Hoare aims to establish an uncanny harmony between the destructive technique of cutting and the often-delicate outcomes which emerge. She noticed that an interesting transformation takes place when something dimensional is wrapped or covered in a semi-translucent material, instantly making it appear flat and image-like.
There is a sense of illusion here, as the image is not what it first appears to be. As the veiled object makes contact with its frosted Perspex skin, light is allowed to pass between the two and the folds and incisions are illuminated as if from within. A visual language plays itself out from underneath creating what is perhaps best described as a ‘surface tension’.
The work’s complex processes of making emerges out of concerns that are not simply formal. Hoare would like to bring attention to how things can be perceived to what they actually are; it is the discrepancy between the two that fascinates her. The work operates between states of illusion and fact, and is in some ways an attempt to encourage the viewer to question how surface appearances and underlying structures are always intertwined and inseparable. She would like to slow down the dual processes of looking and thinking and through the mingling of illusion and materiality bring out an actuality of the thing itself.
This conceptual and creative process is the running theme throughout Hoare’s work. In all the pieces, a cutting action creates voids and portals to spaces beyond, and Hoare aims to draw attention to what exists above and below the surface and to allow the viewer to perceive the otherwise invisible.
We had the pleasure of interviewing Zoë about her creative practice, inspirations, and motives.
Hi Zoë, thanks for joining us today. We wanted to know what the starting place for your works is?
Something intangible. I aim to establish a harmony between the destructive technique of cutting and the often-delicate outcomes which emerge.
We invite you to join us for the opening reception on 12th October 6-8pm.