In her practice, Clare aims to explore forms of erasure as drawing, working with old maps that might be considered out of date or no longer relevant using methods such as cutting, slicing, sanding and crumpling.
These interventions, she suggests, function as a developing vocabulary of mark making. With these forms of drawing the intention is to reveal by removal using an interruption in the surface of the paper to intimate other possibilities for place.
The pattern of human habitation is thus because of the physical structure of the earth, indeed all represented information refers in some degree to the material formation of the earth. What happens if material is removed or destroyed? Is it possible to suggest more by erasure? If the reading of material is obscured, made ambiguous, might it force us to speculate on an additional reading of place? Does the map cease to function or, with editing, can it speak more eloquently of the landscape by alluding to an otherness? When in this process is the work a map to which something has been done, and at what point does it cease to function as a map?
Erasing maps leaves them both located and dislocated, with place names or geological features removed they might be anywhere, yet what remains is a form of representation of a specific place.
In selecting particular information to delete, Clare questions whether this might emphasize or reveal the hidden or less obvious about a place. The absence of the removed data is intended to provoke an uncertainty and perhaps suggest an alternative awareness of place.
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