Social Securiy Network
© By James King
An associate of ours , a remand prisoner , on the blanket, in solitary confinement in England at the time, commissioned Jim Huges and I to construct an installation in the Derry Playhouse and Resource Centre.
The overall theme was the constant struggle of people within the web of social security legislation and security force presence. The installation represented Arthur Doherty’s view of Derry. Groups of suspended umbrellas depicted various aspects of life in the city: First Communion; Shopping; Soccer; and the Cemetry - the whole dominated by a security look out tower.
From this tower, radiated long lengths of white string , spreading throughout the two rooms, ( like fingers of the fan mentioned above), illustrating the constant surveillance so well expressed in the works of sculptor , Locky Morris. Other strings eventually criss crossed these to form a web, from which were suspended the various groups of umbrellas and relevant paraphernalia.
Depicting life’s rough passage, the floor was covered with heavy hemp netting interlaced with questions connected with the umbrella themes, security and social security systems , (taken from the Actively Seeeking Work regulations, and the Parent Support Act) eg. ” Do you have any adults or children to care for during the hours you are available for work? ” What is you destination.?” “Where are you coming from?”. “What is she calling it?”. There were also footprints made from giros showing through the net.
The most significant umbrella group was the shopping group .On the wall behind this group were enlarged photocopies of a photograph , cut from a newspaper, and sent by Arthur from prison. The photo was of a woman in Sarajevo walking across a blasted bridge carrying shopping and an opened umbrella. The remains of the bridge were web - like . This picture poignantly symbolised people ‘s daily battle against the odds. And it was this image which was Arthur’s initial motivation.
Blank posters were available on the walls for the spectators to write their own questions and answer those posed by others. The questions tended to be philosophical interrogations of life ‘s injustices. Unanswerable questions inviting paradoxical answers.
1993
Artwork and photo by James King