Abstract
This article examines, via a self-reflective analysis, a period of practice-based research started during residency at the Nordic Artists Centre, Dale in 2012, culminating in a solo exhibition at the Institute of Jamais Vu, London in 2013. Titled Rescue Kite, the exhibited artworks explored the relationship between play and structure; with particular focus on the use of ‘play’ in post-war culture and post-structural collapse. This textual analysis suggests a re-invigoration of play in art production through exploring the work of Joseph Beuys, the ‘Gibson Girl’ radio transmitter, instruction-based art of the 1970s and Mary Flanagan’s notion of ‘critical play’.
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