Rosie Hook

We belong to a system A circling, closed system It sustains and satisfies our sense of control One to zero Zero to one One back to zero Translation Transition Now free falling into the naught point five greyness You are in between Separating and reincorporating Temporary and fleeting You are becoming Unhindered Control ripped from the hands The system erupts, exposed and naked

​We are defined through spatial and temporal boundaries, a system, which is a set of relations that lead to a complex whole. It is when we interject the space between said procedures, that we find our self in the midst of the liminal stasis.  In accordance with Victor Turner, this can be found within the Rites of Passage, a system that defines a transition between two states, that has few of the properties of the past or coming state. According to Ludwig Von Bertalannfy, systems interact with their environments to an extent that they acquire new properties through this stage of emergence, and therefore continue in evolution. 

My practice is concerned with the state of constant flux and impermanency, and how it is possible to materialise this immaterial concept through visual work. The first part of my practice is physical. By physical, this is conceived through sculptural works made from plastics, that are malleable in their properties and evolve from an influencing environment. A sculpture is not seen within my work as an individual element, but a condition, a tension between material and the immaterial. It acts as a carrier of meaning, a material code. My use of translucent polymer plastics, moulded by hand when heated at a high temperature

subtly illustrate a transitional stasis, such as the moments when water freezes and melts. Water can exist as either liquids or solids and they both are subsequently timeless. It is an element which exists as an open system which these plastic polymers mirror. 

The practice evolves within its second phase, where these objects are translated into a digital reality, created through photogrammetry and imported into 3D animation. This conversion illustrates the flux of an open system, where material translation acts as a reordering of energy to create new visual information.  In this process, the material occupies itself within a threshold, where it presents an artificial reality, formed from real objects. In a sense, I am creating a material based language, that conflates the analogue and digital in a non hierarchical tone.  

            My latest collaboration ‘Sound Matters, The System Erupts’, exists as a live audiovisual performance, with sound artist Nela Pietrová. The performance takes place within a photographic darkroom. It consists of projection mapping into a sequence of three developer trays, of a digital object which consistently morphs and evolves into a becoming shape, through distortion. With digital environment creations, it would appear as if the object is autonomously developing itself within a liquid as a photographic print would. However, the object begins as a rigid structure, and develops into a liquid reflective one. The object finally evolves as a physical shape, that is lit from under an enlarger. Throughout, a continual progression of tones is created live by the sound artist to reflect the evolving visuals. 

The visuals involve taking a physical material that has the properties of expandability, malleability, and imposing it within digital environment and modifications that would create a form that evolved once again through designed movement, with properties similar to its original state. My digital sculpture functions within a flux of an open system, where by which it appears to be self-deterministic and self-regulating, occupying a state of stability, whilst also suggesting a state of evolving or a future state that will systematically flow between both, existing without a fixed materiality of its own, morphing between analogue and digital materiality.

The performance transforms the space of the darkroom into something that escapes its current systematically purpose. By conflating two systems within one site, the space exists as an open-ended system, constantly in flux with its arrangement of relations. With this, the performance acts as a liminal stasis, indeterminate.



City College Norwich Foundation Diploma Art and Design


Camberwell College of Arts



This Is It, Camberwell College of Arts

Over Capacity, Dilston Grove


Hyperstructure, Flying Dutchman


p2, Copeland Gallery


Meanwhile, Four corners Gallery


STARK, Nunnsyard Gallery


Sound Matters, The System Erupts, Camberwell Degree Show 

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