Martin Elden and Morwenna Kearsley are based in Glasgow. Elden’s practise examines relationships to visual communication, with a focus on typography and letterform. Kearsley’s practice considers the physical and psychological properties of image with voice through photography, moving image and sound.
For Hidden Door 2017, they collaborate on a site-specific installation investigating fear of empty spaces.
A few years ago, I went to an open-air cinema in another country. The screen was stretched out onto the side of a building and we sat in plastic chairs, drinking warm beer. Bats flicked around us, which concerned me a little, but then I remembered that they are just mice with wings, claws and fangs. Part-way through the film, I looked up and saw the beam of light thrusting out in a long triangle from the projector to the wall. Within the beam, all the little images were hurtling along to their curtain call.