Initiated in 2002, OSW (Open Spatial Workshop) is a collaborative group, comprising Terri Bird, Bianca Hester and Scott Mitchell. OSW experiments with material processes to generate connections between force, movement and duration that produce new configurations of materiality and spatiality. Projects are developed through exploratory workshops entailing experiments with techniques, technologies and materials, as well as group excursions and collaborative writing exercises. These workshops generate propositions, installations, publications, objects and actions. A record of the unfolding of these various activities has been recorded in the form of an expanding diagram that tracks the progression of public projects, as well as related conceptual tangents and peripheral activities.

Inherent in any diagram is the potential for the material to be organized differently, to open up to new capacities, new assemblages, to be folded into new formations. BIG LOG exploits this unfolding and refolding potential of the diagram. Utilizing the form of the book it develops correspondences through proximity that enable new constellations of associations to be formed. Each new set of associations produces a page of the book, captured as an image. The diagram itself becomes the cover of the book through a series of folds: the total ensemble becoming an expanded book. The mapped material unfurls beyond the artists’ book, extruded as a display structure from which the book’s pages are projected.

BIG LOG JAM extends a specific constellation of ideas present in the book - a meteorite fragment that exposes a series of interrelated questions concerning the generation of form. The meteorite originated from within the solar system approximately 4.5 billion years ago. It is a fragment from the core of a larger asteroid falling at over 40,000 km per hour in Henbury, 1400 kilometers north of Adelaide about 4,700 years ago. The meteorite expresses the events of its formation: the intensity of collisions with other asteroids, its splitting from a larger iron mass, and the vortices of hot gases causing the ablation of its surface as it fell through the earth’s atmosphere. The meteorite as an object focuses both an interest in the temporal dimensions of matter, and a comprehension of spatiality beyond anthropomorphic preoccupations.

The meteorite, cast in plasticine and present at the threshold of the exhibition venue, operates as a talismatic object for the conjuring of a field of material adventures. The meteorite instigates a series of questions relating to the correlation of force and formation, material expression and duration, as processes exploring the continuum between structure and flux. Across this continuum the exhibition presents a field of forces whereby matter becomes expressive of the events of its formation.

Flows, punctures, tears, impacts and impressions are unleashed across various surfaces in a theatre of actions. Surfaces of plasticine, lead, polyurethane, plastic and paper respond to the specific choreographies of balls and crushed rock propelled from a tennis ball machine and air cannon. These formative events engender a series of actions for the duration of the exhibition, accumulating in a field of inflected surfaces in which materiality’s expressions are exposed.