Sarah Thomson

Torin’s interest in exploring the formal qualities of weather balloons stemmed more generally from an interest in weather; the atmospheric conditions that create powerful forces which, in turn, can literally move mountains and carve out valleys if given enough time. Lapsed seeks to explore the intersection of these two driving forces in the universe- energy and time- by showing their effects on an object that is highly reactive to its environment- the weather balloon.

In the gallery space we see weather balloons presented in various states, rejecting the premise that the balloon’s intended form is its only potential form. Torin inflates, squeezes and suspends these latex bubbles, before leaving them to the elements to take on a life of their own. Lapsed references the Postminimalist exploration of bodily materiality popularised by artists like Eva Hesse, making comparisons between the material qualities of latex and human skin. The malleable surface of the balloons show the impact of the energy they encounter. They wrinkle over time and show visible fading when exposed to sunlight, much like our own bodies. The balloons inflate and stretch like pregnant bellies only to slowly deflate and wrinkle into less imposing forms, weary with the weight of time. This change in form and texture, independent of the artist’s hand is suggestive of a broader narrative about what an object was, how it became what it is now and what it will become in the future. The causation of its form is inherent in its form, acting as a material evidence of the passing of time.

The projection of human characteristics on the sentient object of the balloon continues in the video work, which presents an oddly humorous scene… A naughty little weather balloon has seemingly abandoned its post in the sky to frolic in the waves down on Earth. It is shown bobbing around in the sea, sandwiched between the tempestuous clouds of an approaching storm and the lapping waves that rise and fall before crashing at the shore. The object is at the whim of unpredictable natural forces, amplifying the breeze and converting this otherwise invisible form of energy into a tangible one. There is a building tension between the seemingly playful nature of the balloon’s movement and the possible sudden violence that could result from stretching the material to its limits. These narrative assumptions create a life of the object beyond what is visible in the present.

As a scientific tool, the purpose of weather balloons is to gather data on atmospheric pressure, temperature, humidity and wind speed. In Lapsed, despite their new context, they continue to act as markers of energy through their constantly changing and ultimately ephemeral form. The humble, quite humanistic material brings to light greater narratives regarding the interaction and exchange of energy and matter over time, revealing the impact of the surrounding space on an object and the ability of small forces to trigger great change.