Q&A with artist Zoë Croggon

Published on 07 May 2017

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How has your background as a dancer influenced your work?
My interest in the activated or kinetic body comes initially from my engagement with dance. I think dancing introduced me simultaneously to an objective and subjective reading of my body: an internal understanding and knowledge of my physical capacity and condition, but also the possibility of the body being an objective and metaphoric instrument, a depersonalised narrative tool. From this comes my interest in how the body navigates space, especially the correlation between the psychological and physical response to built environments.

How do you create your photo collage works?
I spend several months sourcing material, largely from second hand shops, and generally what I find determines the nature of the work. The work is made through trial and error, by folding two photographs together until I think they make an interesting aesthetic and conceptual pair. Each image oscillates between analogue and digital throughout my process; beginning as printed material, being scanned into a digital format and then being reprinted and assembled manually.

Tell us about your interest in architecture and how this comes into play in your work?
I’m interested in how architectural environments impact the body’s movement in space. I think the concept of psychogeography has increasing relevance to the reality of living in a predominantly built and artificial environment. Much of my work considers the effects our surrounding environment has on our physical and emotional condition. I think this concept of the body navigating natural and built space is where my interest in dance comes in as well. The work poses the human body simultaneously at odds and in step with its environment. It presents the body both at service to and restricted by its architecture or in symbiotic harmony with it.