Amy Noonan

‘Temporal Trace’ investigates something innately human: the desire to leave a record and be known. Yet, any attempt to leave an individual trace becomes part of a collective; by trying to be known, we are pushed into the obscurity of a collective of human presences. ‘Temporal Trace’ explores this contradiction through evidence of my presence, and that of the audience, who are invited to ignore the white cube gallery space conventions and physically interact with the work.   

Although traditionally artwork is comprehended through sight, “the tactile sense connects us with time and tradition: through impressions of touch, we shake the hands of countless generations” (Pallasmaa, 2005:56).  A transcendence of time is sought in ‘Temporal Trace’ through an ancient sign and material language within this dark, prehistoric cave-like space, lit with a spotlight as if left by modern archaeologists. The trace of human presence is captured by utilising natural materials such as unfired clay, chalk and beeswax, which have been used since prehistory to record our presence.

The central object of ‘Temporal Trace’, designed to prompt touch, alludes to medieval fonts and holy wells, or sacred petrosomatoglyphs worn by generations of fingers. With the physical washing of the hands at its centre, ‘Temporal Trace’ evokes a sensorial experience and the quiet, comfort, and human connection felt in historical worship sites. As when seeing the trace of a human, we enter these ancient spaces and feel transported through time, wondering who has come before.  

Artwork that investigates touch and our shared humanity is as important now as ever. COVID-19 created physical separation, an increase in the obsessions of those with contamination OCD, and the rise in the phenomenon of skin-hunger. Since then, we continue to grow further apart, with the internet becoming a barrier to both physical and emotional connection. ‘Temporal Trace’ is a vessel for the strengthening of the human collective, to touch is human, to leave a trace is human, and to attempt to understand past traces and see ourselves within them is the power of human connection. 

Pallasmaa, J. (2005) Eyes of the Skin: Architecture and the Senses. Chichester: Wiley.