Statements: Motivations and Process  
Carruthers is a UK-based artist working in expanded fields of drawing. Often playing with ideas of material significance, scale, uncertainty and  transformation she creates propositions which invite us to think about what it means to be human and what the future might look like. 
 

          ‘Work has evolved overtime to become an inquiry into the posthuman predicament. Underpinning my questioning is an understanding of today’s historical moment in which all matter: discovered, exposed, mapped, commodified and with a shared vulnerability of an unknown future, is united. I see today’s generation as caught between being in the dark, being culpable and being ambivalent. My response to this view of a displaced and dismantled subject human manifests both as a preoccupation with notions of insecurity, collapse and futility as well as a desire to point to political and social transformation. What has come to matter in my work is mutuality and inclusivity in the broadest sense. I want to engineer encounters in which subjectivity and community are not the prerogative of human but viewed as emerging from the assemblage of human and nonhuman.

          My interest in how the work engages and affects the viewer, and how meaning emerges from this, is positioned within the current discourse on new materialism and theories of affect. I am contextualising my position with writers such as Jane Bennett and also with the political theorist, Brian Massumi. Massumi states that to affect and to be affected is to be open to the world and change. It is this conceivable change he argues that makes affect immediately proto-political. I also draw inspiration from posthuman theorists such as Karan Barad and Rosi Braidotti and from works of art in which the understanding of subjectivity shifts from a purely cognitive process to include a physical and a felt knowledge.

          I like to work with materials and locations which have little or no perceived value. Found materials, everyday ephemera and the in-between sites in our surroundings that are overlooked. The significance of these, regardless of their aesthetics is their wider invisibility. Research, experimentation, and a continuous process of assemblage fulfils a need to acknowledge the notknown. I am looking for situations in which all elements become dependent on each other for the work to function. Intra-connected, they become united and active agents in the creative process and in the work itself. They reveal themselves in new, unexpected, or forgotten ways. This is a proposition for inclusivity in the broadest sense and I want to make clear that the work is as much about the invisible as the visible.

          Each work is transient: an iteration of a previous solution to the space it inhabited and as such it is constantly evolving. In creating temporary experiences of a notknown place in which all elements are dependent on each other, I am remembering that day-to-day life is contingent and that the natural and the human are co-factors in today’s disasters'. 

Jun.22