Justin Carter’s practice is Psychogeography, a practice that describes the effect of a geographical location on the emotions and behaviour of individuals. He teaches at Glasgow School of Art in the Sculpture department.
He spends a lot of time walking the streets of cities. How to make sense of the city and their layered spaces. Understanding what nature might exist in urban environments and their forgotten, hidden spaces.
He spoke of several commissions:
Wasteland Twinning Network hijacks the concept of ‘City Twinning’ and applies it to urban Wastelands in order to generate a network for parallel research and action.
Lovely project in a gallery where he linked the plumbing in the Toilets through into the gallery space to produce a sculptural piece of plumbing. The added bonus was that it became a sound piece once the water was turned on. The work questioned the gallery space.
Other Projects included a lighting scheme in Norway to bring light to the dark space underneath a bridge that dominated an area in Stavanger. The aim was to create a space that was more inviting for people to walk through at night. The power for the lighting was created by residents of Stavanger riding bycycles around the city during the day and delivering fully charged batteries back to Justin in the evening to connect and power the installed lights. The piece was shown in galleries as a video.
A project in 2003 to find the River Molendinar on which the city of Glasgow was established. It now runs under the city.
A project in Gemany that involved a group of artists working together to bring life back to a Ferry Terminal in which his contribution was a ping pong table that acted as a border to two countries…. produced three different tables.
The final project was commissioned by an arts organisation in Bristol and involved Lee Woods a particular space of beauty, scientific interest, protected space and protected species. Not far from Avon Gorge.
Justin created a camourflage suit based on a small oil painting of Lee Woods hung in the local museum. He became an urban wanderer by wearing the suit….in the woods he was invisible, in the city he stood out. He walked, every day from Lee Woods to the Museum to stand by the painting as an act of homage to the original painting.
He enjoyed the disruptive aspect he injected into the project by collecting acorns from Lee Woods and dropping them onto the floor of the museum.
As an aside he said: ‘An artist is a person with a storage problem!’