1.5 Tracing Systems – Phase 5: Durational Systems Observation

Tracing Systems – Phase 5

Developed through long-duration material experimentation, participatory collaboration and environmental installation, the work exists as both sculptural form and evolving behavioural condition within the landscape.

Tracing Systems suspended among trees at Staunton Country Park on installation day, photographed on 14 May 2026. — Tracing Systems After the System. Staunton Country Park, Hampshire, UK, 14 May 2026.

Durational Systems Observation

Following installation, the role of the artist shifted from designer and maker to observer. Rather than preserving the sculpture in a fixed state, Tracing Systems entered a longitudinal period of observation, documenting how the installation evolved through continuous interaction with environmental, ecological and social systems.

Each photographic record was captured from the same fixed observation point beneath the red-leafed beech, approximately thirteen metres from the sculpture. Maintaining a constant viewpoint allows changes in form, material behaviour and spatial relationships to be observed over time. The resulting image sequence documents not only the gradual weathering of individual torus forms, but the ongoing transformation of the sculpture as a whole.

The installation was conceived as an interconnected system rather than a static object. At installation, the seven toruses formed a carefully balanced horizontal composition despite their differing diameters, creating a coherent spatial geometry across the suspended beam. Over time, that initial equilibrium has been progressively altered through the cumulative effects of wind, gravity, rainfall, sunlight, biological activity, seasonal change and public interaction. Individual toruses have stretched, compressed, rotated and deteriorated, while the overall structure has gradually shifted away from its original geometry. The sculpture therefore records not simply material decay, but the continual reorganisation of relationships within the system.

This longitudinal record demonstrates a fundamental principle of systems thinking: change emerges through the accumulation of many small interactions rather than a single transformative event. No individual force determines the sculpture’s development. Instead, environmental conditions, ecological processes, material properties and the passage of time continually interact, producing patterns of adaptation that could not be predicted at the moment of installation. The work becomes evidence of an evolving socio-ecological system rather than a fixed sculptural composition.

Across the six-month installation, the sculpture passes through successive seasonal conditions, from the growth and instability of spring, through the warmth, biological activity and prolonged sunlight of summer, towards the changing environmental conditions of early autumn. These seasonal cycles act not as a backdrop but as active participants in the work, influencing moisture content, material tension, biological colonisation, movement and structural change. Time therefore operates as more than a measurement of duration; it becomes an active process through which interactions accumulate and new behaviours emerge.

Field Station

Distributed Observation

Alongside the website, Tracing Systems established a public Field Station within the Coach House Courtyard at Staunton Country Park. Rather than limiting documentation to digital audiences, the Field Station created an accessible point where regular park visitors could observe the sculpture’s ongoing transformation without needing to visit the installation itself on every occasion.

The Field Station combines project information, examples of the sculpture’s materials and a longitudinal photographic record showing the installation at successive stages of its development. Beginning with daily observations, followed by weekly and monthly records, the display allows visitors to compare changes over time and observe how the sculpture responds to seasonal conditions, environmental forces and material transformation. By presenting each image alongside those that came before it, change becomes visible as a cumulative process rather than a series of isolated events.

Importantly, the Field Station also invited public participation. Visitors were encouraged to leave written reflections describing what they noticed, experienced or interpreted when encountering the sculpture. These responses became part of the project’s documentation, extending observation beyond the artist’s perspective. Rather than positioning the audience as passive viewers, the Field Station incorporated them into the wider system of observation, creating an ongoing exchange between artwork, landscape and community.

The Field Station therefore functioned as more than an interpretive display. It became a distributed observation point within the project itself, supporting long-term engagement with change over time and encouraging visitors to recognise that the artwork was continually evolving. In doing so, it expanded the sculpture beyond its physical location, connecting the installation, the public and the documentation into a broader system of shared observation.

Structured Longitudinal Documentation

All images in this series are photographed from the same fixed observation point beneath the red-leafed beech approximately 13 metres from the sculpture. The repeated viewpoint creates a longitudinal visual record of environmental change, material weathering and seasonal transformation across the six-month installation period.

Fixed-view photograph of the seven woven toruses suspended from a beam at Staunton Country Park, showing the installation after rain, hail and wind on 15 May 2026. — Week 1, Day 2, 15 May 2026. Note: today was overcast with breaks for sunshine. There was rain and hail and wind yet this image shows the sculpture has changed very little since yesterday. Perhaps torus 2 is askew? (toruses are numbered from left to right).

Fixed-view photograph of the Tracing Systems toruses beneath the surrounding branches on 16 May 2026, during wet and windy weather. — Week 1, Day 3, 16 May 2026. Note: Another inclement day, but no noticeable destruction on the sculpture from the overnight rain and wind. I noticed today the toruses were not moving as much as the surrounding branches and leaves. I checked the security of the rope and realigned the rope strands. The rope colour is perfect to easily be camouflaged against the beam, giving the impression of the torus sitting without restraint on the beam.

The Tracing Systems installation at Staunton Country Park on 17 May 2026, as visitors began interacting with the woven toruses. — Week 1, Day 4, 17 May 2026. Note: After I took this photo, the sun was out and the park was full of visitors. At least 40 groups walked past the sculpture either along the path or on the open lawned area. Some stopped, some tripped over their dog as the sculpture caught their eye, others pointed to show their walking companion. The highlight was a group of young ladies that approached and pulled down on torus 1 to see if it would break, then proceeded to hang their torsos over torus 1, 2 and 3. They completed their inspection by trying to lift one of their number up to sit on torus 1 as a swing. That is the type of Public Engagement some sculptors only dream about! Torus 5 may be a little askew?

Fixed-view record of the seven toruses on 18 May 2026, after the installation’s first busy weekend at the park. — Week 1, Day 5, 18 May 2026. Note: The sculpture has survived its first weekend. On Saturdays there is a run at Staunton with up to 100 people all passing by the sculpture and Sunday mornings bring free yoga in the park that many people use to start their day before a walk around the park. It’s spring and Hampshire is in full bloom, so I imagined the weekend visitors could number in the 1000s. It is surprising the Sculpture shows no obvious signs of human interference resulting in a breakdown! Let’s see how it survives the next weekend of May when there is a long weekend.

The woven toruses viewed from the project’s fixed observation point on 19 May 2026, with park visitors passing along the path. — Week 1, Day 6, 19 May 2026. Note: a little sun brought many more people to the park. The path had groups of walkers many stopping and pointing it out to their friends. Questions were thrown around.

Seven-day record of the Tracing Systems installation on 20 May 2026, showing the toruses still suspended from the beam with only minor vine loss. — Week 1, Day 7, 20 May 2026. Note: I am surprised we made it a full week. I was surprised we didn’t lose some structural integrity in the first 24 hours – not because I doubt my capacity to build torus and weave without any reinforcement or my design for installation, but I had limited knowledge of the environmental factors at play, from animal engagement through to wind, rain and human interaction. There were rumours of vandals in the park at night! So to survive a full 7 days I am elated. There is very minor loss of vines and no detectable sign of movement along the beam. You can see for yourself. These photos were taken in the middle of the day from the same vantage point, using the same camera for all 7 days. But the question is: what does this tell us about systems and their translation into our human experience? I like to think these seven days show us the calm before the storm when we engage enthusiastically again with a new series of systems to navigate to achieve our outcome, and they sit passively, dominant and calm, waiting for our engagement.

Weekly Capture

The following images show weekly captures. A photo is taken every Thursday for the next three weeks, providing a record of four consecutive weeks. After 4 weeks I would expect some environmental degradation, perhaps some increase in human interaction that accelerates the breakdown of the torus and even perhaps animal engagement with the torus. Let’s see.

Week 1, Thursday 14 May 2026 – Installation Day.

Tracing Systems installation at Staunton Country Park on 14 May 2026, photographed from the fixed monitoring viewpoint.

Week 2, Thursday 21 May 2026 (actually this was Friday 22nd – because Thursday was consumed preparing the site signage!)

Fixed-view photograph of the Tracing Systems installation during its second week at Staunton Country Park.

Week 3, Thursday 28 May 2026

The toruses after two weeks outdoors, with looser weaving, extending vines and early movement along the supporting branch. — Note: So excited to find some extension of Torus 1 and some serious unravelling of Torus 6. But each Torus is showing signs of looser weave at the base with vines pointing out and falling to the ground. There is also some movement in the jute on the branch suggesting movement of the toruses along the horizontal.

Week 4, Thursday 4 June 2026

Monthly

The following images show monthly captures. A photograph is taken at the end of each month from May to October, providing a record of the noticeable changes over time.

MAY 2026

In May we installed Tracing Systems, and its geometry was aesthetically very pleasing. The toruses were equally spaced along the beam and carefully ordered to achieve a straight lower edge that accommodated the angles of the beam. The rain increased the contrast. The lighter beam and darker grapevine, set against the dark brown tree trunk and vibrant green grass and foliage, created a dramatic effect.

JUNE 2026

Early summer record of Tracing Systems as the first toruses begin to loosen and open, photographed from the fixed viewpoint.

As we entered June the first major change was seen in Torus 1 and Torus 5. Torus 1 completely opened and began to lie gently on the soil while still confidently holding onto the beam. Torus 5 had begun to stretch and tear. People were seen interacting with the sculpture approaching to explore.

JULY 2026

As we entered July Torus 1 began to deteriorate on the ground. Torus 6 and 7 had now completely opened and Torus 5 had twisted on the beam. As the weather became hotter and the ground dried we lost the clarity of the green grass and moved to a yellow highlighted contrast.

AUGUST 2026

The Tracing Systems toruses during summer 2026, documenting their gradual opening and material loss.

August 2026 view of the woven toruses, showing rings opening and vines becoming thinner through continued weathering.

As August entered a very hot summer the remaining three toruses were still a favourite for swinging on. All toruses had clearly unravelled, not just opening up the ring but also losing material to thin the Torus. Over the first weekend of August a festival at Staunton saw hundreds of visitors to the Public Sculpture. The rhythm remains in the spacing and the vertical 7 lines against the horizontal beam can still be appreciated, while those opened toruses retain connection to the beam and to the ground.

September 2026

Fixed-view record of the installation in August 2026, documenting summer weathering and the gradual unravelling of the toruses.

Late summer view of Tracing Systems as most toruses have opened and released vines while remaining tethered to the beam.

At the end of August as September arrived, it was unmistakable that all toruses bar one had opened to release vines and hang more precariously by their tether to the horizontal beam. The ground under the sculpture showed significant vine detritus.

October 2026

Tracing Systems as autumn begins, photographed during the transition from summer conditions at Staunton Country Park.

Autumn view of the toruses and surrounding woodland, documenting seasonal change in the installation’s setting.

As September came to an end, and October shifted the weather into Autumn, the leaves in the forest began to show the exhaustion of summer and the floor began to show signs of the forest bed thickening for the winter. Tracing Systems miraculously still held on at all 7 positions. A Torus was still joined at all 7 connections. All toruses are now open except one. One still holds on to its form. All toruses show a significant thinning of their girth.

At the beginning of October I spent a number of hours cleaning up the space and collecting the fallen vines. I did this to prevent the autumn rains drawing vine nutrients into the forest floor – as a foreign introduction to the forest. Clearing the space added significant clarity around the sculpture and the negative space revealed a more interesting form on the ground where the opened Torus were lying or trailing.

Tracing Systems on installation day, photographed from the fixed monitoring point beneath the red-leafed beech.

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Stay tuned: the Red Gloves have more projects to share with you at Staunton Country Park.

The Tracing Systems project team together at Staunton Country Park, sharing a moment of laughter during the installation. — The team that laughs together creates together! Imagination and laughter are surely in the same location in our brains?

Tracing Systems: the Film by SculthorpeStudios

Tracing Systems the film documents the life of an installation from conception and construction through public interaction, transformation and eventual unravelling. More than a record of an artwork, it reflects the evolution of my practice towards participatory inquiry into complex systems.