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Site-integrity is a working methodology – a site-specific practice that performs site through artistic devices operating in temporal relations with space and place. Taking a non-representational position (Bolt, 2004), site-integrity repositions the act of representation from its retrospective or projective dimensions towards that which is performed and is experiential. Thinking about practice in terms of event, therefore, is not simply the unfolding of a sequence of activities within a ‘privileged’ and territorialized space of the gallery; the art experience needs to be rethought, or re-experienced, in terms of a changing live space.

It is important that the artistic devices are made by hand, on site, enhancing the creativity and specificity of the process. Rather than adapting the research to fit the limits of equipment, the equipment bends to fit the needs of the research. The devices are used as both a creator of autonomy and a source of possibility through which site might be found and shared, a technical ability to go inside somewhere physically restricted or generally unreachable. Unlike many practices where the mechanics are hidden from sight, site-integrity is reflective in nature, giving the device a presence within the artwork itself.

Historically, the context of this research lies in the origins of early cinema, with reference to the Lumère Brothers’ Cinématographe (the first three-in-one device that could record, develop and project images). Site-integrity builds upon this technique via a recording/display device that is mobile. This enables an exact transfer of scale and time as the representation physically maps the architectural site. In each specific site the device operates in a distinctly different manner (as mediator, investigator, social operator, time machine) furthering ideas of site-specific practice.

keywords: site, place, collaboration, performance, space, site specific artwork, architecture, representation