tara’s work conjures fantastical and fragmented landscapes which the viewer is invited to inhabit. whilst the artworks give an initial form, the rest comes to fruition within the mind’s eye. in this creative negotiation non-spaces are constructed.

petition to empathy is tara’s request that we explore these non-spaces, that we engage with and navigate them something that must be done unhurriedly, sensually, considerately; finding your way naively, by sound, sight or touch.

in doing this we complete tara’s work. between the artist and the spectator, the non- place takes form and in it a rogue element is born, an uncontrollable influence which invades the work and changes it irrevocably.

it is this sense of invasion which tara explores in her performances. these endurance-based works will show tara at her most vulnerable; entrapped, tired, continuing. they are designed to form an intimacy between the viewer and the artist, and once this intimacy is reached we mustn't shy away. push on. continue. explore. gaze deeper into her world and make a mark upon it. 

photo by Drucilla Burrell

photo by Drucilla Burrell

photo by Drucilla Burrell

photo by Drucilla Burrell

a guide to exploring a non-space

‘these photographs are nothing but partial records; fragmented confessions of a moment passed’
project 127, tara benjamin-morgan [2013]

tara’s process asks that we inhabit two spaces at once, the space in which we see her work and the one in which we invade it. in her artwork, as with her performances she asks that we enter this dual space, that we push onwards, that we affect it.

as a curator i found this idea particularly enticing.

so for tara we created two exhibitions existing simultaneously within the same space. the one you are currently standing in, and the ghostly remains of the experiments conducted to create it. this second space is concealed as it is shown, through photographs, in moving image, by memory and the markings on the wall.

for me a non-space is a situation where two things are true at once, where the past and the present or the real and the imaginary co-exist. contradictory scenes which could not be as they are without each other. the time held between two clocks out of synch with one another.

and now it is up to you, enter tara’s world: chat, dance, record and generate the exhibition space you would wish to inhabit. we have staged a past, but its futurity is up to you. 

photo by James Nasmyth

photo by James Nasmyth

photo by Drucilla Burell

photo by Drucilla Burell

"this will be the first time that an audience is able to engage so directly with a performance that i have done. Its going to be an interesting challenge, i don’t know what to expect, but i can only really respond in the moment.”

“i guess that also explains why i always return to painting, it was always the most direct way for me to explore that otherness, this other world that i want to exist for me.”

“painting has always seemed very direct for me, but i appreciate that its not always direct for the audience. sometimes i feel like i need to find new ways to communicate in a contemporary situation."

“we’re used to that more direct communication. sometimes i find that its actually a process of concealment, you hide behind videos or filters and mediating environments."

“the movement towards other media is inspired by that. this desire to have a constant negotiation between appearance and concealment and thats really interesting for me to explore.”

“its inevitable that the work is going to be an uncomfortable thing to watch, but i want people to explore that. to explore that tunnel that starts to exist between all these screens and real experience, where that leads and how far does that go.”

tara benjamin morgan


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