The Silence on the Floor of my House presents the viewer with nine objects. The position between each object in the exhibition space is that to which it is to its neighbour, each form reflects and refracts line, colour, dimension and position to produce a field of relations. Each object affects the next, and in this way no object is singular, each is responsive to its environment. Each material opposes and identifies the common element in each.

The viewer, too, is responsive to the environment, and the reception of the installation is modified for each individual perspective , the reception of the work requires an interpretation and thus a performative act on the part of the viewer. The exhibition is presented as though unfinished, the completion relying on the narrative deployment from the audience. The finite presentation of material offers an infinite number of possible relations and perspectives.

This introduction of a subjective element to the art work creates a dialogue between the objects, the viewer and the artist, who does not ask for an objective understanding or interpretation of the work (there is no correct reading) but presents the installation as an open platform in order to introduce indeterminacy to the work. There is no conclusion as such, but an infinite number of discontinuities.

This openness is not set in place to disorientate, nor does it act as an analogy of existentialism, it seeks to create a number of parallel interpretations, questioning each without negating any. From here the infinite number of possible perceptions of the work exist, paradoxically, as one. The exhibition becomes a cognitive experience, the ambiguity seeks to use the viewers mental faculties to extend the existent objects beyond themselves by continuously altering them as subjects.

The Silence on the Floor of my House serves as a platform from which one can become more attuned to their environment, to consider the inter-relationship between themselves and the possibilities which surround them. The multiplicity of meaning and indeterminacy positions the installation in a much wider context than contemporary art practice. It has ontological implications and draws parallels with the principles of complementarity and indeterminacy present in physics, ecology and philosophy.

Sarah Hughes, 2008