Moat-1

Laia Estruch uses children's playground structures from the 1960s and 1970s to deploy an experimental performative practice around the body, her own movement and the voice. The Moat series, named after the water course surrounding castles and fortifications, is based on the different structures and typological forms of children's playground equipment designed by the artist herself; forms that evoke circularity, the notion of a ball and the type of climbing frame found in playgrounds at the time. The artist activates her iron structures, literally, through an exploration of exercises involving corporal and vocal acts that allow her to explore the behaviour, gestures and body movements in the playground architecture of the twentieth century. A flexible structure which, as Estruch points out, ‘acts at the same time as stage, score and archive’.