Jasmine and Hannah Cash are artists based in North Wales. The work aims to examine the encounter between drawing, choreography and film in order to investigate the forms of thinking-feeling-knowing. Approaching film-making as collage, they attempt to form abstract narratives, which are constructed around notions of materiality and physicality between bodies. The films are projected on assemblages that are formed of industrial and mass-produced materials to construct captivating environments. Where a playful space is formed for both maker and audience through exploring the boundaries between the body, material and the space surrounding.
Over the past year as twin sisters we have cultivated a dynamic and productive collaboration, which has currently been operating in the centre of an intriguing interdisciplinary web, utilising film, choreography, sculpture and drawing. Most recently due to Coronavirus, film has been a central element to our practice; the camera and accompanying equipment has pushed us to explore beyond the studio to sites and surfaces of the local landscape that surrounds us in North Wales. Through the development of our practice, we have discovered an interest in examining the relation between the body, material matter and the environment in which the work forms. We have discovered an importance in spending time at the chosen sites, keeping questions in mind and asking where do we fit within this exchange between land, sculpture and movement? What do we give and receive from the chosen materials and place?
Through progressing with our practice, we have noticed a draw towards places we have walked to often throughout our lives. We try to engage with places as much as possible through our work. Whether that is visiting the location often, spending time responding to the location or allowing the elements to affect the body. Throughout our first year after graduating, we struggled to find a studio space in North Wales and therefore we turned to the outdoors. The landscape became a space for experimentation, bringing unfamiliar modes of practice to the landscapes. By working outside we transferred our process into the public realm. As we work with sculpture, drawing, movement and film in the outdoors we have introduced something different to these locations in North Wales, which to some walkers and passers-by is quite unfamiliar.
We decided to use Pen y Gaer and Llyn Eigiau as our locations for Vibrant Matter. The film includes myself moving in the landscape wearing a suit jacket, throughout the film pink sculptural forms can be seen with the body. These sculptures made of jesmonite were created through the first lockdown, this was the first film we had decided to include sculptural forms. Our purpose was to consider the material relation between the performer and matter, how it might lend itself to a push and pull. Allowing the material to test and expose possible choreographic opportunities or moments of restriction and difficulty for the body. We wanted to bring attention to the materiality of the body, sculpture and land as individual components, as well as examining a dynamic material relation between the three. We are both self-taught editors, with our film work we try to show materiality through our editing. Our aim through relatively simple editing is to emphasize the relationship between body, landscape, touch, the camera and the viewer. Making this film has allowed us to test the possibilities of our practice, allowing new ideas to arise that we can now take forward on to future projects.