Sensing Place, Three Responses : Andrew Mackenzie, Helen Carnac, David Gates
The works are interrogatory; they point to usages and histories, references of implied culture, industry and the anthropogenic ‘natural’, with these meanings lurking just out of view. We wonder ‘for what’ ‘where from’ ‘why and how.’ What is Gates’ work supposed to hold or do in his implied world? His work is a clearly purposeful yet intriguing set of choices, his forms draw from a collage of farming tools, industrial shipping, factory machinery and anachronistic carpentry. Carnac’s work asks similar questions - as our eyes move over Carnac’s objects - are we thinking of the buckled corrugations of a dilapidated shed or the tilled undulations of the surrounding fields? Mackenzie’s work, though an interweaving of scenes of current Scotland, seems to point backwards and forwards in time - the old-growth forest entangled with the quarry, industry, human activity- and remains shrouded in the mystery of both, leaving us searching for answers the moments captured can only hint at.