[Messums Wiltshire tithe barn (photographed in the early 20th century).]
The process began by studying 3D data of the building alongside historical materials and written accounts of the marks, then dividing the dataset into elements such as walls, floor and distinctive structures. While exploring more than seven million vertices, the piece searches for viewpoints and movements that allow the “carved circles” to emerge as temporal images.
[Carved circular patterns on the interior walls of the barn.]
By applying circular motion, specifically sine waves, to the vertex groups, the work visualises a movement in which the memories contained within the wall circles seem to open and flow backwards, presenting the barn’s own perspective on the prayers and imaginative forces it has accumulated over 700 years.
Because it was not possible to visit the site in person, the production was also informed by documentary films depicting monastic life, treating prayer and art as parallel acts through which intense, primitive human images are continuously shared and anchored in a common space.
