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Christopher Mollon

 Christopher Mollon makes durational performance, performance-installation, action art/art action and sculptural intervention. Born in Scarborough (North Yorkshire), he now lives and works in Bradford (West Yorkshire). In 2010, he graduated from York St John University with a BA (Hons.) degree in Performance Studies.

Currently Chris is interested in wrecking and foraging for his materials/objects from site-specific areas of abandonment and solitude. Mollon treats the task of finding his objects as pilgrimage due to the journeys often coinciding significantly with natural and phenomenological passages of time. Through his findings, he is developing images and a vocabulary of objects that seek to act as transcendental markers in time based performance.

Mollon is also a member of P.A.I.R.S, a collective that seek to explore the nature of action art and the variety of its forms in relation to improvisatory practice.

'My HOARD process started slightly before I heard the call out for the project. I had begun to walk and explore the intertidal coastlines of North Yorkshire and developed an interest in the washed up objects I began to find. In particular, synthetic or man-made objects caught my eye and bared relevance to me but I could not explain why. I was fascinated by the different weathering patterns that occurred on particular plastic objects. Also, the sheer excitement in turning from a rock or scrambling around a hard outcrop and being confronted with fragments of bright colours amongst the throbbing dullness of the algae covered boulders, awash with remnants of tidal pull. Yellows, reds, blues, whites and greens became my colours of comfort.

My routes were A to B and usually took me several hours to complete depending on the difficulty of the terrain. For instance, the terrain from Blea Wyke to Hayburn Wyke was difficult due to the large sandstone boulders that had fallen from the cliffs in which became huge obstructions coupled with the fierce incoming tide. I remember this route so vividly as I was competing with not only the incoming tide and actual distance of the coastline but the dying light of day too. It was to be when I had finished the walk and had my feet back on the satisfying dry rocks with two faded red buoys with markings of boat identification that I felt a sense of relief and satisfaction. The buoys were the trophy or the documentation of the 6 hours I had spent with that particular landscape. I had truly inhabited the landscape for a miniscule amount of time but had something physical to represent my ephemeral journey. This, to me, is the pure satisfaction of walking and wrecking.

I repeated this process of choosing a nearby stretch of coastline and walking from A to B and recovering relics from the sea. Over time, I started to accumulate a number of repeated objects of
oil drums, wood and buoys. This was the pattern of my walks; the aftermath of the walk was to hoard these repeated objects.'
 
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