RETURN TO OLDER WORKS
simulated patient, 2004
Details
Conservatory 2004
Fragmented porcelain skeleton engraved throughout with line drawing of red Fucus seaweed, wooden shelves and glass. Dimensions variable.
Series of 24 Framed Photographs – The Velocity of Drops: Operating Theatre, The Velocity of Drops: Dispensary, The Velocity of Drops: X Ray Room, The Velocity of Drops: Middle Ward, The Velocity of Drops: Medical Ward, The Velocity of Drops: Surgical Ward.
Home Testing 2004
4 card tables: 70 x 76cm each, 4 shakers, ceramic dice, notepads & pencils, vinyl wall text Installation. Dimensions variable.
Simulated Patient 2004
Three monitor DVD installation with shelves and six A4 printed texts.
Photography: Dave Morgan
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DESCRIPTION
Borland continues to relate the History of Medicine to contemporary medical practice, with a particular interest in its interface with the public. Combining new techniques and technology used in medical education with ancient technologies like porcelain manufacture, she proposes far-reaching ethical questions for us to consider, both in terms of the ‘progress’ of our society and on an intimate personal level. Both the fragmented ceramic piece, Conservatory and her ongoing series of photographs The Velocity of Drops recognise the beauty inherent in destruction, while serving as reminders of the enduring qualities of even the most vulnerable of objects, the human form.
The fragments of Conservatory, reminiscent of small pieces of weathered porcelain collected on the beach, are full of pathos and remain collectable, despite the destruction of the original whole – a complete human skeleton. The installation Simulated Patient is based on role-play situations where medical students, through role-play with actors, rehearse dealing with a range of difficult scenarios. In this case all involve breaking bad news to patients. The presentation of this work deflects the viewer’s voyeurism by concentrating on the ‘use of silence’ in the consultations. The viewer finds her/himself empathising with difficult position of the doctor as well as the tragic circumstances of the patient. Experiencing each unfolding scenario under these controlled circumstances allows us the opportunity to confront our own ‘worst case’ scenarios.
In Home Testing, Borland presents a more sculpturally formal series of games whereby we are informed of a series of probability statistics and invited to use the custom-made dice, receptacles and games tables to put them to the test. Statistics and risks relating to our health as interpreted by the press, are conveyed to us daily. The statistics in Home Testing all relate to possible medical scenarios surrounding pregnancy. Recent developments in genetics have meant an increased knowledge of risk and a subsequent range of choices and dilemmas, which are likely to widen and escalate in the future. This work is an attempt at empowerment by providing simple, hands-on means to translate baffling statistics into something personal.