Experiment 1 for conversant pieces

Making a porcelain stand for first conversant piece.

This piece was the first of three I made during the Summer before going away in September. I was highly disappointed with the outcome but it indicated the way for the next piece. I learnt a great deal along the way. How to break away from preconceptions. I played with the surface but found that all the details added simply made the work neither one thing nor the other. 

It was a good way of finding out how to embed the sound apparatus and making procedure but not the artistic content. I consider this a failure well worth making as it has led to more interesting ideas. 

 

An idea I worked with was the imprisoning of sound, not allowing it to escape but making it audibly entrapped in the ceramic body. The protuberances making the whole fragile, the brittle pieces creating a further barrier to the sounds from inside. 

I have moved on from this idea. I feel that at times, ideas that appear to work when described in words do not necessarily come together as a work in another medium. The Project Proposal now reflects this as I pare it down.

Wolfgang Gil: Maleable Sound as Sculpture

 

Resonant Body I - Wolfgang Gil

 

Gareth Jones, in his essay, describes the historical changes in the relationship between sculpture and sound. This dichotomous tension is straddled by Gil’s work in Sonic Plasticity proposes the use of sound as a malleable material – one that can be stretched in all dimensions, encompassing height, width, and depth, with curves, edges, and changing geometries. His Aural Fields and Resonant Bodies combine physical structures set to vibrate, creating geometric fields of sound perceivable in space with edges and form.

This is an interesting field I am currently investigating with respect to the final proposal with respect to sculptures. I am not proposing to do the same sort of thing but Gil’s work does have correspondence with how I see sound as creating a physical entity in itself.

My idea is to counterpoise the readability and sensuality of the solid pieces with the pure perception and sensuality in another modality of sound. I am concerned about the cancelling out of one another: should solid sculpture reside in silence, should sound be disembodied? These are questions I intend to explore and aim to resolve in some way. The use of digital interactive devices is something I have been working with enabling an element of audience interaction. But then again, the work in silence also speaks of itself. This is an interesting area of empirical research which needs a trial and error, or heuristic, approach.

Iterations or Something Different?

 

 

A thread of thoughts is like a gut that extends from air to air travelling through a body grown and developed around it, nourished by the ingestion, digestion and assimilation of ideas. The alimentary canal, symbolic and figurative appears in my work as such a thread.

The constraints of the surface to volume barrier to growth are dissolved by the gut. From the genesis of complex life onwards, it is the single structure that has enabled all the physical attributes of animal life that we have come to recognise as active autonomy. Regardless of nervous networks and the evolution of the mind, without its capability to furnish the organism that we are with energy, motility and subsequent life strategies would not have been possible. When we are born, our prime priority to it nurture this function while we nurture and help develop our other faculties.

I have subconsciously worked with this idea since Chaos Contained which is now set free, as an overt symbol in my project; a vehicle for the exploration of language, evolution and myth, as though I were moving within a metaphorical underground cavern complex. It collects ideas, like organs, that adhere to this single thread as the Indian rasa come together to form the elements of artistic expression. 

 

Amputation

 

 

An amputation is not something one would want. Sculptures have suffered amputations throughout the ages, some repaired, others restored and yet others left as they were found, This Herakles, Venus de Milo, the Belvedere Torso and so on. Limbs at times distract from the sense of form, many artists have known this, others have incorporated the limbs so that it merges into the body. 

I have had a problem in that I want to make large ceramic works but the kiln is only so large. I have a top loader 59 cm diameter and 69 cm high which needs to be wired in. This is not small but neither is it large enough. What to do? 

I had thought of jointing the pieces much as I did with the works in Chaos Contained. But this is not in keeping with the informal, organic sense of the works I am currently engaged with. Chaos contained was about symmetrical growth from within, an outward radiation. Now the works are internally generated, handled in a completely different way. 

 

 

So I looked at how I could make the pieces in parts to be put together later after firing. I came across the work of Giovanni Vetere who works with glazed ceramics. The pieces are much larger than would fit in a regular kiln. In addition they would be unstable and too fragile for firing in one piece. On closer inspection of his work I noticed that they are made in pieces using the glaze patterns to camouflage the joints.

 

 

I could try to hide the joints when installing but would there be a better way? To show the cut, a severance, a clean cut that must signify something. And it opens the way for future large works where the cut plays a part. It may even lead to being able to show a work in its pieces arranged meaningfully or at least aesthetically. 

 

 

What this does for my ongoing work is to provide a formal solution to having a kiln smaller than the fluid forms I want to make: the parts can be fitted together after firing. It also solves the problem of how to insert and remove sound equipment.  Conceptually, this technique offers the opportunity for representing vulnerability, fragility and reformation; perhaps also creating compositions, of parts that relate to one another and reconstituting them in different configurations.  

 

Finishing Porcelain

As I work, I think of how the final pieces will look. Porcelain is a strange material. Silky smooth when fired with a grainy feel if left unglazed. I want to give the surface a skin-like feel.

 

 

The Belvedere Torso in the Vatican collection was a seminal inspiration for Michelangelo. Signed “Apollonius son of Nestor, Athenian”. Marble acquires a softness that bellies its nature as stone. Sculpture in stone influences my choice of material. But I choose ceramic as a pliable stone which is transformed by the alchemy of heat. Porcelain is like the white marble of stones and glazing it seems to me betrays the traces of handling and so an essential characteristic of its making.

Why do I choose the Belvedere as an example of marble statuary? Because arms and legs are functional, locomotory and grasping. The body is the centre of physical being from which other things radiate. As it was with our primordial ancestors, so it is with the forms I am working on.

Glazing speaks to me of function, impermeability. The body is not impermeable but in continual transaction with the world. In early times the clay was burnished to render vessels less porous. Decoration has always been applied to ceramics, from the rhythmical marking of the beaker people, to the finest renderings. From symbolism to shear exuberance and delight, ceramics have diversified and many left function behind long ago evidenced in the heritage of form only.

I have experimented extensively with Parian clay which was developed to look and feel like marble, it is soft, vitreous and warm, but it is hellishly difficult to use and is subject to warping and cracking. It is better suited to casting large pieces. Casting at this stage is not for me, it is not sufficiently spontaneous and better left as a means of reproduction. However, I shall continue to work with it on smaller scales. 

I do not want to use glaze because it covers detail and the sculpture looses the surface nuances developed during its making. However, the raw biscuit low fired material is brilliant white and unsubtle. It is also prone to get dirty and due to its porosity very difficult to clean. When fired to a higher temperature, the surface vitrifies and becomes sealed to a large extent, less porous and prone to atmospheric damage and the dirty that comes with handling and storage. However, the crystalline surface is still very white and lacks the organic surface quality I am looking for. When the porcelain is unfired and still wet, it has a flesh like look, a warm grey that responds to handling developing a beautiful sheen where it is burnished. However, this disappears on firing. I have looked for a finish that can restore to some extent that sense of sensual softness and has the following characteristics:

  • does not yellow over time,
  • is colourless,
  • does not create a thick layer,
  • is not glossy
  • and is easily restored.

Having experimented with a number of possible candidates I have found that the humble paraffin wax candle is the ideal substance. The porcelain is heated with a hot air blower and the wax rubbed on building a very thin layer that penetrates the microscopic pores on the surface and creates a colourless, translucent finish. Finally it is burnished with a cloth or brush.  

 

On Methodology

Starting is always the hardest thing, unless one were to consider finishing. Both are difficult for different reasons. Finishing is the moment when you realise you have done what you can, it cannot be otherwise. It is the collapse of the potential that had been possessed before and during the making. Its gift is to whisper or shout according to its own inclination how the next work might proceed. And that brings me back to the beginning, starting a work.

I am starting a new piece in porcelain, white as the blank canvas of a painter, the beginning of a long journey. And as I set out without a set destination, only a sense of what I am looking for, that freedom is frightening. It reveals my shortcomings in the midst of a vision pulling me back to how I did things before. What is that the right course of action, how do I navigate this landscape of decision and indecision? 

To know what to do is not the point. It is the how and the why that will give me the framework to hold on to. Take that journey, on foot say, into a forest with neither the stars to guide me nor compass or map. I have no destination, only the ends of the Earth. If I try to walk in a straight line I will simply do so in circles and find myself back to where I started. I must decide on a course of action, a simple set of rules to break the bias of my own nature. Sometimes rules are changed a little but not so much as  for me to loose my way irrevocably.

Over years a method is perfected as is the reason for it. I work as a cartographer, marking each point as a star to guide me, a landmark to aim for. But this is art, not some field to be gridded out with a surveyor’s precision. To do so would yield little more than what is in the ground and the rule itself. To look beyond that field is where progress lies. Progress is born of change, imposed, contingent or better still by means of my own agency.  To do so is to turn the world on its side and refresh sight from another vantage point. But habits possess inertia, to turn them over I need help. Something I have learnt working with Janet is to do what I would not do normally. This is just one way of changing the course of things and refreshing what might otherwise become limp.

And so it is with the work I do now and the research statement. By this stage, I should not have to worry about where a work will end, it never ends as each finish is but the start of the next.

On Materiality

 

My works are based on a strong sense of materiality as a means of grasping abstract ideas. To translate these from objects of the mind to ones that occupy three dimensional space is to rescue them from ephemerality. This in itself changes their nature as they arise in the making, capturing feeling in the material, moving away from the imagined to the physical. Concrete as they are, they probe into what is ephemeral and evanescent. Is it the phenomenon of being or the idea of being that is being represented here?

Clay is a material that can be shaped according to one’s own senses. Its inertness permits me to freeze moments of feeling and embed them in its corporeality. It is ideal for my approach, not to represent in some way thematic notions but to reify them. What emerges from these thoughts is that cycling and continuity are the abstract processes that underlie the thematics of time and life; and that in the work, space becomes actual material and that material defines the work, its thingliness, alongside its theoretical and contextual characteristics and qualities. 

Albeit I see the work as the thing itself, it is also a vessel holding allegorical content. It brings forth into reality the very notions that led to its making. However, in all probability these might well remain hidden if not layered with or disclosed by context. Context can wrap around the work in many ways, through text, juxta-positioning, placement, images, sound and so on. It is an area that I must work on diligently.. 

To make the object of the mind otherwise, digitally printed, commissioned or projected in another (more resistant) material, would not be the same. I need the direct contact between hand, eye, mind and material that makes it what it is and nothing else. The directness of touch as a principle conduit for embedding feeling in what otherwise might be materially impersonal. It is a synthesis of the untouchability of an idea and the inability to express that ideal form physically. It is as direct as stroking an animal or smelling a flower yet one can not be an animal or a flower. This creates a bridge between maker and receiver that subverts the continual increase in faux intimacy engendered by the current use of technology in today’s society, as in social media and infinite multiples of the same thing.

The human haptic mode encodes a complexity of information transmitted from in-the-making and passes on to experiencing. They come close to being one and the same thing. The object becomes more than something that can be seen and touched: it is a vehicle for subtle empathy. Not the sentimentality we attach to cherished, used objects of mass production. 

This subtle empathy which, placed in a human context, links me to the themes of the work relating to natural forces. I no longer am an observer but a participator in creating and remaking the world. The work is overtly human but also non-anthropic. It reminds me that we are part of nature but not necessarily central to it. We only make it so for existential reasons as do all other plants and animals. It is this survival, cycle, continuity that is again at the root of my ideas. But unlike an animal or a plant I can see beyond my immediate world, give form to other worlds and times. This gives me a special privilege and responsibility.

As to the basic form of the vessel that appears in much of my work? The vessel is a plane, folded on itself to become a container. We all were born as balls of cells that began their journey into the world as simple dimpled  spheres from which a vessel was formed. This form defines the boundary between the physical inner and outer environment. It defines the limit of our corporeal existence. We can only project out of it through our senses and the mind. However complex the vessel might become, its fundamental property of containment remains.

I see the vessel as inviting exploration of what is within and without and more importantly what it is that connects the two. My particular area of interest is not only located in the now but in the connections with the past and how this is part of what the future might become. The present is the vessel for all things yet it is elusive, an idea ever changing. It is an elusive membrane whose allusion becomes object in much of what I do. The membrane of the present, the inside and outside, the self and other.  

 

Critique on Latest Study

Porcelain high relief in drying box 18 x 19 x 11cm

This study has led me to reflect on what I am currently doing both in terms of work and conceptual content. Working small on a large scale idea is not always easy. It is different in the way one part relates to another, everything is seen at a glance rather than experiencing a gradual discovery as an informal circular dance is choreographed around the work. Viewing distances are bodily contract towards immobility as I end up very close to the work, without glasses, in an attempt to restore a large scale visual relationship.

In this work my thoughts have focused on a particular set of notions and shifted from an Apollonian ideal found in the Studies for H to a more Dionysian sense of things. The subjects remain the same and the methodology similar but with its content altered in someway. As always a dichotomy is expressing itself like night and day. 

The study has been difficult to accept in terms of its composition but I have learnt a great deal in how I could approach a more ambitious work. This would be many times larger which itself presents a number of technical issues of drying out and weight. I may have to construct a specific humidity box to maintain the necessary moisture content over a prolonged period. Then again covering may be the only thing necessary since the mass of material will keep its moisture content more readily due to the reduced evaporation caused by a decreased surface to volume ratio.

Its implied motion suggests to me an animation in the form of a ‘dance’ that traces ideas underlying the work. In addition it is in high relief whereas what I envisage as a finished work extends in height and may be on a circular base: perhaps a subliminal allusion to old master depictions of the Tower of Babel: an icon of chaos and the hubris of man (and women?).

 

 

But what is it I am doing, evoking the weight of generations, the struggle for life, are these metaphors for humanity? This latter question refers to my previous post title, ‘What is the Difference’. This is not a de-humanisation but rather a de-centering of the anthropic view of things. We are part of the whole and not separated from it, a view that has proliferated during the Anthropocene. We are as subject to the same blind and dispassionate forces that brought us about as any other part of nature… with one difference. We have a heightened capacity to change our behaviour. But the individual dynamic is not the same as that of the group and this creates an inertia which naturally tends towards conserving the status quo. Which way things will go is still in the balance; a race against time for the majority of future humans. Extinction is unlikely to be total but annihilation of a large number if not majority of people is certainly a clear possibility.  

 


 

It has just occurred to me, why am I writing all this down, I have never done such a thing, why post so much since I hold all these thoughts in my mind as I work? One, it provides a contemporary document that may prove valuable in the future: the memory plays tricks and history is constantly retold in the light of the present. Two, writing practice has enabled me to move more rapidly through ideas, build on them, alter them and articulate them more clearly

Psychological Voltage

Pen and ink study

 

Following from my previous post, ideas start to form as to how the two aspects of what I am working with, the raw and the refined can coexist. The transition from the radially symmetrical, ordered Chaos Contained  to the more poietic gut forms has been a journey from the external to the internal, searching for the internal world contained within the carapace. I have oscillated between one and the other and it seems that the symbolic reifications have been and still are gestators for what I am working on now. I see the possibility of the chaotic inner world nascent from, evolving and bursting out of the idealised concept of the type form. This may be too literal an interpretation of what I am thinking but in the working with the material is where the transformation can take place.

Plato thought that our world was a mere shadow of an ideal one, our backs turned to the light and all we see is a third hand puppet show – which makes me think of the shadow videos I have previously put together. Aristotle got his hands covered in the slime of dissections and the analysis of the literal world that we see and touch each day. He looked at it straight in the eye and tried to explain it.

These drawings are the first attempts at placing markers for the ideas that are forming in my head. From them I can develop and evolve these ideas, make them less… obvious; more about the struggle between knowledge and knowing, existence and experience, than biology.

 

Pen and ink study

 

In the first visualisation, the internal bursts forth from the carapace; in the second, the metamorphosis of form from raw compost to ideal form. (It reminds me in a way of the empathic climb in Philip K. Dick’s Mercianism.) Two ways of reconciling through transformation. This is where the strength of the myth lies, in the potential to transform mud and dust to a higher state. It is an idea that holds psychological voltage. 

 

Low Residency: Day 4 – Sound Workshop

It has been some time since the Low Residency. Many thanks to Ed Kelly for condensing into a relatively short time frame a great deal of theory and making. I was already very familiar with Audacity but there is always something to learn and I have taken on board a number of ideas. The great usefulness was to clarify and formalise certain practices that I have followed either intuitively or uncritically. The principle one is the idea of cutting or editing at zero. This avoids clicks and pops producing clean edits. The other is more a concept, that of fragmentation or deconstructing sound into atomic elements which can then be used as building blocks. This ties in with the introduction to Musique Concrete in a Skype lecture a few weeks ago.

We spent time harvesting sounds from a variety of objects. I was particularly taken by a small music box mechanism that Ed brought along. He turned the handle in short bursts while I recorded. This broke up what would have been a familiar melody into fragments of sound. It is a fascinating approach to capturing sound, so much so, that I ordered a number of mechanisms over the web with which I have started to experiment. 

Ed mentioned Pure Data, a visual programming software which was, however, too much of a learning curve for the workshop. Although I have started using it, it is too early to say if I shall be using it in the final works, much depends on whether I can find work-arounds to my aims rather than spending too much making-time learning how to use it. 

After collecting the sounds, each one of us put together a short soundwork (below). I was particularly taken by the reverberation in the stairwells  (pictured above) running up the new building at Camberwell. 

 

 

The rectangular spiral staircase resonated in my mind with the spiral stairs at the Queen’s House we visited in Greenwich.

 

Pure Data

The previous post talked about sound and sculpture in terms of building blocks of non-verbal language. This is a fascinating area of theoretical practice that seems somewhat neglected whether because it is seen as irrelevant or the two areas are separated by a formal academic-professional gap I do not know. Artists have used sound and sculpture together, but as I have said before, one as the container or instrument of the other, not as equals. I do not presume to find a perfect balance between the two but I do approach them as having, at least theoretically, homological correspondences. Using basic units as the building blocks of each respective language, much as phonemes are the basic units of speech, I can perhaps meld the two together. Curiosity as to whether this succeeds is part of the impetus for the exploration.

I still maintain that sculpture is silent and sound disembodied. Sculpture primarily finds its place in my kinetic being, sound vibrates the corpus as an intangible organ sounding within me. Regardless of how they are interpreted they at least have this in common, that they inhabit the body as the closely related physical senses of touch and vibration. 

I have been looking at Pure Data as a means of generating sound, the basic components of it, vibration as frequency, pulse and volume. At last I have worked it out by following some videos on YouTube. The actual mechanics are simple, the syntax is straightforward enough. The learning curve seems to reside in understanding what each object does and how it interacts with other components. From this sounds can be generated without reference to outside associations. This seems the way, at least in great part, for crossing the boundaries between sculpture and sound in the purest sense; how sound can be shaped and moulded to correspond with sculpture… and vice versa, or perhaps even shaped synchronously. Sounds generated can then be edited in some other software or generated in situ and manipulated in real time. 

A Decision Made

Unconcerned curves hide the sharp pricks that bleed me in your making. Without remorse. Deep from within the surface of your smile again you bear your self determination, one of Gorgon’s tresses fallen with pride glinting as juice that trickles from rotting fruit; dry as husks in autumn scattered in a storm… yet you are the start of something not quite new but close enough. The indecision of the surface skin broken into pieces and made clear in the late Winter sunlight. I see now that things must be all things and I must double my response as you reflect your shadows in a dancing pair. Light does not come from one source alone; I cannot be one but many. My thoughts are not wedded to a single species but a whole kingdom, writhing, wrestling with life and loyalty rests only with the sense that there is nothing that cannot be. 


I have thought hard about which way to go in terms of the aesthetics of the project: surfaces, forms, degree of working, colour, details and so on. I mentioned in an earlier post about the tension between unity of style and variety of content. My nature is such that there is no answer but to encompass all ways and let the underlying algorithms of my mind make the connections and trust that these rise to the surface of what people see: the Mid Point Review has been a great affirmer of what I thought.

I now have a clear way forward; to allow crazy variety, if that is what happens, to manifest itself. The works themselves must be all they can be and not constrained by some overall sense of stylistic cohesion: the world manifests itself in wonderous variety. So now I must work and test, experiment, and reach and grasp outcomes that inform what is to come and trust the process I have gone through. There is much to do in the given time so from now on I shall gather what I have made in my mind and build with it the steps to another world grounded in this one. The above is an image of a porcelain piece in progress accompanied by a written impression of how the process of deciding within one piece affects me. 

NB: The surface skin refers to the outer aesthetics of the finish. 

Skype Chat 2.6 – Sound with Edward Kelly

The focus of the session was on different approaches to sound as a medium. What Ed means by this is the abstract conceptual manner of seeing sound.

He started with Walter Murch’s categorisation of sound, relating it to colour.

 

 

 

I always find it interesting how sound, music and colour are often correlated. Kodaly is another example of this idea as in his pedagogical work. I would leave the colour aspect out of this discussion and concentrate simply on the semiotic aspect which seems what this diagram tries to convey. There are so many ways of classifying sounds. I have to bear in mind that Murch is a film sound editor. However, the point is to think about sound in terms of its affect and the information it encodes: emotive, descriptive, semantic, associative, allusive, illusive and how these modes are conveyed. Fore example, are they conveyed through rhythm or pitch, distinctive or chaotic? There are so many ways of looking at the matter but in the end I feel the important thing is thinking about sound in terms of its affect, the reason for that affect, how the sound is made, and the context in which or for which it is created.

We looked at musique concrete, starting with Pierre Schaeffer and his first work Etude aux Chemins de Fer1948, who attempted to categorise sound in his Traité des Objects Musicaux. Michel Chion wrote a guide in English PDF where he lists sounds and their qualities as experienced.

Musique concrete treats sound as abstract objects each with its own qualities. Particularly intriguing was Bernard Parmegiani’s De Natura Sonorum from 1973 composed using the altered sounds of rubber bands using analogue tape, filters, real echo chambers, delays and altering the tape speed. 

Diagetic sound is almost the opposite of this. It is associated with a visual cue as though the situation portrayed is the source of the sound. Musique concrete decouples the corporeality of the sound for it to become the corpus of sensation itself. In a conceptual sense, it has no source other than its own sound. The way it is made may be a curiosity or of methodological interest but in its truest essence only a vehicle. It is as an Acousmatic experience in which the cause and origins of the sound are removed so one can concentrate on its sensations and qualities. 

Ed introduced the idea of copyright as a ‘spanner in the work’ and then goes on to give some examples of postmodernist sound collages where recording are appropriated to create mixes. Whereas in the case of John Cage’s 1953 mix, in which each situational element is recorded in his own house over a period of time, here we are talking about taking pre-existing recording and butting them either as live performance or recordings. The copyright situation is complex here depending on duration of play, recognisability of the segments taken and in the case of live performance, proof of actual appropriation. Perhaps that is why one of the people doing this uses discs. Ed describes each discrete segment as the ‘cultural grain’ of the whole rather than musique concrete’s sonic texture. It is interesting to look at it in those terms. 

Below are a list of Ed’s links 

Musique Concrete
John Cage: Williams Mix

Williams Mix used sounds recorded by Louis and Bebe Barron (of Forbidden Planet fame) in 6 categories, organised according to the I-Ching using a 193 page score.

 
Acousmatic Music

Note: see the notes below the Youtube clip for the track listings, as these are entire albums of work!

Culture Jamming / Appropriation of Recorded Media
Software

 

Dissecting λόγος

 

 

The word is shaped as I work.

Action and thought flow into one another and take form transcending the word as it approaches its own making. Speaking it dissects its anatomy but only once the task is completed, exposed to close scrutiny. Then, mind and eye, memory and knowing become its making and fill the sentient void. 

The rigid form from fluid matter is hard to coax as a single moment; the process slow and deliberate, tricks and turns. A morsel of the conscious mind passes through and changes, as change must come from passing. Observed, there will be no certainty of meaning, only the possibility to listen and hear its change.

Mea Culpa Restored

 

 

The final restored Graven Image. One of a series of contingent caprices foretelling the shadow world that follows. A world that encompasses some of what I talked about in the last tutorial with Jonathan; contingent because their restoration and rebirth arose out of an unpredictable and calamitous event that in part, catalysed the shadow world.

 

 

What am I doing here? I am experimenting much as early civilisations onwards experimented with composite creatures: an exploration of the imagination facilitated by the social juxtaposition of different life strategies in one concentrated space. Caprices, perhaps not, rather an expression of a deep seated modularity found in religion, science fiction, and myth. Here the myth is both biological and psychological; how could it be otherwise.

 

Hermaphroditus

Hermes and Aphrodite bore a beautiful son. Hermaphroditus was raised in the caves of Mount Ida by fresh water naiads. Growing bored of his life he went walk about around the cities of Phrygia. One day, he wondered into the woods of the city of Caria near Halicarnassus where he was seen by the water nymph Salmacis. She at once fell in love and lusted after the handsome but still young boy pouncing on him in an attempt at seduction.1 Hermaphroditus rejected her attempts and on thinking she had gone, undressed and entered the pool to refresh himself. On doing so, Salmacis sprung on him and wrapped herself around the boy wishing by the gods never to be parted from him. Her wish was granted and the two blended together creating a creature of both sexes.

This tale, one of many told by the Roman poet Ovid in his book Metamorphoses came to mind as I made a new clay model. It is a blend of ideas from the Willendorf Venus to retro rockets; from Philippe Stark’s juicer to the Sputnik satellite, deep sea monster and nimble crustacean. Cult and functionality melded without overt reference to the human form for hermaphrodites abound in nature. 

The emergence of sexual reproduction long ago conferred greater plasticity to complex organisms enabling them to better adapt to different environments. Hermaphrodite animals have adopted this form of sexuality as a strategy for increasing fecundity, with respect to plants it is the norm. Only amongst the flowering plants do you find separate male and female individuals. These are dioecious plants such as the holly. Only female hollies bear fruit. In humans the sex organs begin to differentiate only after nine weeks but then sex is different to gender. The gendering of objects is deep rooted in culture. Ascribing a gender to a particular type of thing is common in many languages but not all languages assign the same gender to an object. I am always a little disconcerted when referring to a flower in Spanish and then Italian. In the former case it is la flor, whereas il fiore is the Italian masculine for the same word. Two romance languages with common roots, at what point in the linguistic womb did the two diverge? German also includes a neuter gender whereas English has pretty well lost all its grammatical genders other than for people, animals and a few other things such as ships (with a few dialectic exceptions).

A professor (who is no longer with us) said to me a few years ago that my work is gendered. I wondered what he meant at the time as I know that my intention in Chaos Contained was to move away from a binary representation of life. I was working in a neutral but fecund world full of life force transcending the cosmically parochial issue of gender. To this day I do not know to what audience he thought the works might relate to, if that was indeed what he was getting at. Ironically, the touring show of CC was managed, promoted and funded purely by women.

We are apt to see ourselves reflected in things and events including questions of gender. We live in times when questions of gender are being revised of their historical baggage. Whatever the case might be, it is so difficult to be objective about affective things. Emotions are at the heart of art practice and appreciation. That is why academic writing for an artist can be a stretch but it can open windows to new horizons through critical thinking. However, critical analysis has to be treated with an awareness of its implications for creativity.

  1. Salmacis was the only naiad that did not take part in the hunts of Artemis on account of her idleness and vanity. She preferred to wash her beautiful limbs and tend to her hair.  Ovid, Metamorphoses. Book IV, 306-312 []

Learning New Things

 

I have never done something like this before. I am finding it a challenge but not because I lack the skills of drawing, composing, digital or manual. It is more a case of sequencing and seeing how  detail fits with the overall. This might appear to me a matter of applying what I do in other domains to this, the graphic narrative or comic. However, the applicable principles are to be used in a completely different context; one in which the single image does not stand alone but is seen as part of a much larger narrative in images. In addition, the attention of the viewer has to be maintained throughout the process of sequential page turning: rhythm, sequencing (how one images corresponds to subsequent images), pacing of the script and consistency of vision are all part of the process. In short, it is about working with a carefully crafted script. Something I am going to have to do when working on the multiple screen video performance. So this is a way of introducing that process. 

Probably the way for me to break down what I have done is to look at the first page and see how the problems presented have necessitated shifts in how I view the overall work. The interesting part of the process is how the initial vision, feeling, has had to be changed in order to convey a more compelling narrative through visual means. 

I was fixated with a particular ‘look’, a simplicity that quite frankly was getting somewhat boring. I tried to reduce detail to focus on the narrative but found that this had the opposite effect. It is the detail surrounding the central character that conveys the story, after all, there is only so much that can be done with a single creature in a barren landscape. So what I have done is spend a while looking at the great many solutions that others have used for both comics and graphic novels. This has helped me in seeing how I could do something more affective.

So what have I done? The following is a list of the changes that I have sketched out in my mind and tried out, not shown above:

    •  

    • Change the geographical transitions to convey a sense of the psychological journey of the creature. I had maintained this constant with the result of convey nothing more than repetitive monotony. Although this was the initial intention, it did not seem to hold the attention or even convey the meaning I was hoping to impart. I worked with process but there came a point where an intervention to change direction was needed to increase the affectiveness of what I was doing.

 

    • Introduced minor characters which heighten the creature’s isolation much as a lost person would feel in a forest full of unfamiliar animals and plants. This also personalises the character with the viewer creating a conversation between parties. This is a more intuitive direction, after all, most people’s experience is not that of living alone on the Moon or Mars. 

 

    • Not repeating stances and views, keeping the pace of the storyline going while relating each vignette to the others. This can be done using colour, line, composition and tone as well as the particular characterisation of a given scene. The direction of sight needs to move in a sequential narrative and lines of tension, repetition, reflection and so on, are all devices that can be used to achieve this visual journey.

 

    • Most importantly, elaborate the script so it includes details that help create interest in and engagement with the character and its story. The script, to my surprise, is perhaps the most important thing. It does not have to be about speech, it is also description of the scene, emotions, details, incidental action, time, season, terrain. All these are important to compose in an abstract sense so that the drawing phase is not always starting from the beginning when an impasse is encountered.

 

    • Work with what I am familiar. This is important in creating a believable situation and characterisation. It is much easier to work with elements of which I have experience rather than trying to set events in locations that I cannot relate to. For this reason I have chosen the Venezuelan savanna, land of tebuys and Conan Doyle’s Lost World. An appropriate setting for the story that unfolds. 

     
    But what is this narrative about? I have been thinking if it was about loneliness, or perhaps the dark side of companionship; about a search or about the indomitable spirit of survival. In the light of what I have been exploring in the past few day there is something else, the emergence of predation, not in the sense of a literal figuration of the strategy filling an ecological niche. It is more of a metaphorical account. If examined carefully, again it is not so much about predation but competition, territoriality or even status. There are multiple inferences in the storyline, that is the point of it, ambiguity, and the ambivalence of what is loneliness and what is solitude. 

    There are also technical elements which are can be worked out in the process. One thing I have found though, although I have spent some time on the project, I am amazed at how little work I have actually done. I can see that I need to do much more ground work. But now I am clearer as to what is needed, I can move on at a more productive and energised pace. What relation does this have to the main project proposal? Everything is still up in the air but there is a strong correspondence with other elements I am working with, metamorphosis, culture and the deep past as a counterpart to the contemporary. 

     

Finished Graven Creature

197 x 260 x 156 mm, fired clay and gold.

So, I have managed to repair and finish the piece using my own version of kintsurukoi; something I would like to explore further with more abstract pieces: dialysis and synthesis. 

This is a development of the creature around which I am building a narrative. It offers possibilities on many levels arising out of what I feel are its currently two-dimensional qualities.

 

Graven Image of Creature

 

Once in a while a small disaster happens. This is the first time such a breakage has occurred in one of my firings. This particular casualty is not the culprit but one of the few pieces affected by the exploding work, to be seen in a later post. When such things happen, the thing to do is to not despair. When I heard the muffled thud in the kiln, a smothered explosion with following sounds of falling debris, it was a time for a calm in anticipation of seeing what survived, what happened and, what could be done: an opportunity to try something new.

The Japanese repair valuable ceramics with lacquer and gold. I came across kintsukuroi (golden repair) some time ago and this seemed an opportunity to try the technique. I have done some research and the traditional method using lacquer seems rather laborious. Today’s materials are equally, if not better, suited to the task. With some gold leaf, resin and size I have experimented with this piece. Understanding the principles involved goes a long way to adapting methodology to the materials and needs one has, and this is what I have done. 

In addition, the piece warped because of its different thicknesses causing uneven shrinkage. This posed another problem, not all feet touching the ground created an interesting situation to deal with. However, the more I have worked with this piece, the greater my understanding of techniques and refinement of solutions which might lead to new trajectories. 

More coming soon as I finish this work…

Start of a Graphic Narrative

 

I have  been working on ideas arising from drawings I did earlier in the first term. I did not know where they were necessarily going but that is the nature of artistic experiments. However, it is not a case of not knowing what I am doing but rather allowing what I do to take me somewhere new in the spirit of experimentation.

Over the past days I have learnt a great deal about comics, their layouts and techniques which are helpful in creating narratives concerning my work and ideas. It is an interesting way to work; with hand drawing, computer graphics and photography. What I have in mind is a set of accessible works that sit alongside my mainstream pieces.

I decided to start with a principle character working it out through drawing. I used the seeds sown in a series of pages of sketches drawn earlier, particularly Drawing 4…. The  creature above is by no means definitive in morphology but it bears the fundamental elements of its making. Around this creature, I am writing a number of scripts in order to build an narrative structure for sequencing images. As I started this project I was also experimenting with the camera on my reflective walks. The context of these wanders over the same territory has become an important element in what I do, a setting for the imaginary world of the works and their interactions: perhaps the stage I mentioned in the symposium video at the beginning of term. 

Working this way has opened out many ways for the unification and expansion of my practice. I still have a long way to go as I work in parallel with other projects but it is rapidly becoming part of a scenario for originary things, a mythopoeitic process.

The Ritual of Walking

 

Along the walk looking East at sunset, 10 December 2018

I have been going out for same walk at least once a week since the beginning of the term in October. I realise that this has become a ritual, one in which I meet with the sky and earth. I let the clouds bring in ideas from another place and the earth to ground me. Two scales: the untouchable above and the tiny world of the soil with its plants, beasts, fungi and detritus. I look up and I look down and see for three hundred and sixty degrees all around a horizon that changes with the weather and time of day, subject to what the clouds might bring from who knows where. I see beyond and see inside.

Ritual is an essential way of regulating the everyday into the long term. Rituals can govern how we respond to things. This is why it is important to know when something becomes a ritual, to understand its essence, its meaning, and how it affects us: whether a ritual is creative, constructive or damaging and subtractive. The walk takes time, but it is not time taken away from what I do but rather it allows what I do to come in and rearrange itself creatively, without me necessarily knowing. I may participate consciously in this process, or allow it to proceed independently while I engage in some other activity. I have already hinted at how the reshaping of content can happen subconsciously in an earlier post .

Today, the clouds in the East looked like mountains as they do on the edge of a plain. An illusory boundary which for an instant alters my view of the world: geography shapes who we are and how we respond to the vagaries of life. Humboldt observed this in how similar geographical locations gave rise to surprisingly similar ecosystems with comparable niches despite having completely different species. There are fundamental laws that govern every detail of existence and so it is with us whether we are aware of them or not. The role of the artist is to sense how we are moved by the unseen and make it visible, make it known in some way. 

Richard Long has made a public-private ritual of walking turning it into an art document, exposing the significance of a simple act. It is about the human rhythm that leaves a wake subject to the passing of time; leaving a trace waiting to be covered over by the waves of passing with only a resonating memory: a very human thing. I have come to see this current walk as a conscious act in my practice and I am documenting it photographically. As I do so what I see and observe, what I think and do, changes over time. My intention has not been for it to be an artwork, let alone part of the current project but to be part of the process. This may change over time but for now I see the record of these walks a possible collection of works which, however, run parallel to the project rather than a contiguous element. Why? Simply put, the paradigm by which I am recording the walks is, at least for now, inconsistent with the project proposal… but this may change.

 

Mythopoeia I: post-truth-hurtling

The first term has ended and with it comes the continuation of what has gone before. I do not see it as the completion of a phase but rather as the beginning of what is to come. The term has been a time orientation, revisiting and rebeginning, looking at things afresh: all I do seems to ascend in a cycle.

A popup exhibition entitled Virtual Particles has been organised at Camberwell and rather than making a completely new piece, I decided to work on post-truth-hurtling, the kernel of a sketch done earlier in October and take it a little further. With the direction for the mid-term coming into clearer focus through the elaboration of the project proposal, I thought I would try to reflect this in the work. In so doing, I discovered that which I had suspected. That the themes that have emerged, were embedded within the process only to be unveiled by the elaboration of the project proposal. The title tells me everything I need to know; it encodes a number of elements that I had identified in the PP as my way forward for now:

  1. Mythopoeia – the making of a myth.
  2. I – that this is only a beginning of a cycle
  3. post-truth – dealing with current socio-political concerns
  4. hurtling – my sense of physical things and time being expressed in many different ways, hurtling being one of them

Combining elements of my research in one piece I turned the video sketch into something more layered. The sound track incorporates elements other that Storm Callum . I have begun compiling a fresh archive of sound files and engineered tracks that will serve me in the future. This follows my thoughts in the recent post, Breakthrough from the Simplest Source. It also ties in with what I will talk about in a latter post relevant to my process: that of making a ritual of the recordings.

The video incorporates shadows and moving light sources giving which initiates an idea I have had for a while. Animation, of sorts, in an installation that I would grudgingly call for now, Plato’s Cave. My difficulty with this name, although convenient as a temporary place holder, is that Plato’s metaphysical explanation for the illusion of reality was based on people not seeing the true actors and props but only their projections. My idea, on the other hand, is to have three layers of perception in which the actual scenario that creates the illusion is clearly visible and exposed and perhaps even open to interaction. 

The text in the video, is a reworking of the original, a selection, distillation, concentration. I aimed at something more incisive and yet ambivalent by taking out the superfluous. As the video unfolds, each word or phrase subsequent to the preceding ones changes the overall inferences. I want the words to remain maleable. Only at the end is the context alluded to.

The Lime Tree that looks over the studio: one of the elementals contributing to the making of the video

The elemental characters that went into the making of the video remind me of creation myths in an almost Miltonian sense. I avoid icons of or references to the human world. All that I leave is a sense of imputed volition. It is my way of saying that anthropomorphism is a emergent property of who and what we are, seeing the world in our own image. This is a key element of creation myths in contrast with evolutionary theory. Even in the case of the latter, scientists use teleological language as shortcuts for what would otherwise be very lengthy explanations. A simple example is the phrase, ‘evolving towards’. This assumes a direction or goal, something that is counter to the contingent nature of evolutionary processes; a trap we fall into when describing non goal orientated natural phenomena, because we see things with hind sight as though they were leading to some predetermined goal.

Another notion I wanted to imbue the video with is the sense of things continuing ad infinitum even when one is no longer there: an intimation of eternity. This is something I may work on in the future although it has been done numerous times in different ways. The relentlessness I wanted to give the work is part of its possibly dark interpretation; the soundtrack plays an important role in this. At the end I counterpoise this sense of unrelenting descent with the partial revealing of the context at the end: the open, fresh, natural phenomena used to create spontaneously a dark vision. Sun, wind, tree, clay and water: elements often appearing in creation myths conspiring to weave the ‘horror of creation’, as Ted Hughes might put it, or the dissolution of paradise in a Miltonian world where truth is subverted by lies.1

 

  1. from Crow Alights []

Breakthrough from the Simplest Source

Today I started working on another branch of my project using old sound files I have recorded over the years. This proved rather frustrating and the results were disappointing. I took a walk with Janet where we discussed this temporary impasse. The problem seems to come down to using pre-existing files for new work. It is like trying to fit a round peg in a square hole, to use an overused metaphor. But why should this be? Perhaps it is because the old files were created in different contexts and with end points in mind that do not correspond with my current aims. These two reasons seem true enough. However, I also felt that what I was doing was tiresome, jaded. It emerges that simply put, the sound files are not fresh. They have to be recorded or made in process, why? Because that way I am close to the source, in its own environment, sensible to its meaning, affected by what I see, hear, smell, feel and touch. 

I recorded a sample from a simple domestic source and low and behold, I was able to work effortlessly, manipulate the sound waves, and create with the utmost simplicity something that I can work with. The result is something I can build on; create an archive of sounds with which to compose. There is also another important principle at work here that is relevant to the project. From simple, everyday phenomena, readily at hand, an entire world can be created without sophisticated processes. Myths are created not just from the unusual and spectacular but from the everyday, humble things that surround us. So this is what I will be working on over the next few days amongst other things: build a narrative in sound that runs parallel with the more tactile and visual processes. Whether the two modalities come together is still an open question. This I suspect will be the direction of the Research Statement assignment later next year: the relationship between sound and sculpture. 

Oracle: Maquette 3 – End of a Phase

 

Studies: graphite on paper, 316 x 237 mm. From the maquette

 

When evolving an idea, there comes a time for leaving the process to the subconscious; to open it out to other influences and make new connections: this takes time. I remember when taking my physics A level at school, the best strategy for solving a particularly difficult problem was to read what was needed, identify the equations and methodology, understand the variables, try a few things out and then sleep on it. Perhaps the next day or a little later, the solution would present itself as though the most natural of outcomes. I am not saying that solving a physics question is comparable to producing a work of art. I only mention this because the mind continues working in the most wonderful ways while we are distracted elsewhere. By going to sleep on a problem, we dream and see things from different perspectives in different contexts. This enables solutions to arise that would otherwise be constrained by fixed thinking. My attention is now turning to sound, relics, shadows and other things. I leave this particular part of the project in a place where, of its own account, it can respond to different ideas and methodologies and await a refreshed return.  

 

 

Fall

You divide me, so that I might know which way is light and when to face away. You give me one side and so another that I might know which way to turn and with this gift: a centre for the back and forth, a dim picture of the world so smell and distance no longer the only place where I am and I am hollow: forced to follow hunger for the other and that drives and bestows dull fear that moves me to and fro along the edge. I pierce the horizon and still must eat and hide but as a growing pain that weighs on my breath, pushes from outside my skin, I leave my mother’s liquid, sprout and walk about, deeper into different worlds and lift above and shovel earth yet this journey that has no end; always changing and with this change a distant sense of wanting always with me takes another’s shape, now warm, with me rejoining that which cleaved before me long ago and as it does so my sight turns inwards. Inside the world shapes new forms, and places I cannot see or touch but know that they are there. I feel the cold and heat and sweat and become knowing of a fear that no longer makes me run but ask for reason. Yet I continue, tear and gnaw, be ripped apart in turn until I grasp that stone or stick or clench my fist and strike with all my life imbued over countless ages, countless times, and scream and shout. And in that moment call and word is formed together with the why as I see my neighbour die. And now I make, and history with it on walls and rocks and trees to tell of my death and how my birth was done, and the reason why, we all must die.

Relic and Ritual

 

 

The first maquette for ‘Oracle’ dried and broke up. Removing the wire armature broke the pieces further. Recycling the remnants of the idea, composting them for future use is the usual way. Early humans buried their dead. Where lay the transition point from composting to burial? Humans have thought that somehow the preservation of the body allows it to transition to another domain and built myths and religions on this notion. The idea embodied by the maquette has moved on and evolved into something different. To ritually preserve its remnants is to keep the idea alive for transitioning. From clay to clay: each iteration encased may foster an evolution towards something else. 

The box is made carefully with attention to detail: it is imperfect, rough, not quite symmetrical; housing incompleteness, impermanence, transition, and the now absence of what was. Wabi sabi  is the embodiment of such ideas. Much of what I have done corresponds with this aesthetic principle, particularly in the case of small works. Subtlety and contemplation are rewarded with a sense of understanding the world in a profound way. The ritual of preserving the maquettes, time consuming, onerous, is a ritual that builds significance. The Confucian idea of ritual through deliberate action and repetition, turns the practical into symbolic action, into physical reality, back to idea into action. If an idea is conserved, it remains alive, if it is alive, it has potential, if it has potential, it can metamorphose. This is one way of my moving forward with what I consider an ambitious project. 

I can see how this approach is endlessly expandable and scalable. But would that go far enough in my view? I think not, it would be to alight on one of the first ideas and stay there. That is not the purpose of this exercise which is about deepening and connecting rather than producing in the first instance. However, having said that, I intend to make each stage a document in the journey towards new work.

Moon walk

 

The moon broke free last night. Leaving the earth she hurtled towards the sun leaving pieces of her behind as trees reached out to pull her back by her wake and got their fingers scorched by the sun who gloated, and sunk behind a blackened horizon. Finding herself free of all things, the moon lost interest and decided to drift, like a lover, content with her waxing belly, as men sent shiny rockets full of tiny people vertically, past the trees and past the moon, their roars swallowed by the immense distance, turned to comets. The earth in its shyness turned over and waited for the grubs to wake the soil.

 

Oracle: photos of maquette 2

 

Taken after I had completed the drawing. There are well over one hundred images and I have chosen nine, not for their aesthetic, formal content but for their ability to convey information and ideas that take me beyond considerations of the sculpture alone.

 

 

Oracle: Maquette 2

 

Studies: graphite on paper, 316 x 237 mm. From the maquette

Not everything has to have a reason. As I work, an internal dialogue continually debates, interrogates, plays the devil’s advocate: what is this for, is this more effective, where will you go from here? At times I need to cover my ears from these voices that stop me from travelling to, I do not know where. The place does not matter in the doing, but here lies the rub, how do I mark the path by which I have sleep-walked to this clearing in the fog of work? Experience follows me on the trail to a new place, it is she that leaves the marks on the walls of the maze I have wandered into. The journey made familiar, I can follow my way back without minding the why. I need to find my way back, because I cannot stay where I am and sometime I might want to return.

Not everything has to have a reason. Only on the return journey might I encounter the why of something I did. Moments after, or years, unencumbered by thoughts of purpose, ideas that once were awkward come together and show me a different place, the significance of peculiar details. Details in a myth built from once cloven thoughts rejoined. These maquettes are such confections, wrought to be returned to dust, their image grasped with camera and pencil as they dry and crack and crumble before me, they become the memory that builds the life of the idea. Accreting to one another their weight is felt inside me, and the work is done under their gravity, reflection having been done so that feeling and understanding cause the motion and my mind moves to the next place I do not know where or for what reason.

 

Oracle: Maquette 1

 

Studies: graphite on paper, 316 x 237 mm. From the maquette

Today I made the first maquette for the work I am currently calling Oracle.  It is a continuation of the sketches in Drawings 1 and Drawings 2 in unfired clay and metal wires. Although the final intention is quite the reverse, I am thinking about how language is digested and deconstructed through the alimentary canal of human behaviour. Starting as incoherent noises a comprehensible message emerges at the other end. The Oracles of ancient Greece and Rome worked on this principle and functioned as political spin, from the personal and local to the national and imperial, ambivalence and ambiguity almost always the mode of interpretation. Has it ever been any different for those in power, regarding today’s politics? Is this not what religions do when interpreting the numinous in a bid to acquire and keep hold of power? Take an unexplained phenomenon and make of it what you will.

However, as I mentioned at the start, this work is intended to reverse the process: converting a comprehensible message into an incomprehensible babble in real time. Words are deconstructed as in a form of Chinese whispers from the initial utterance to a final noise. Along the way different iterations of this deconstruction are audible adding to the confusion… all in real time. Is this not what happens to what is said as it passes down and away from its source? This is at the heart of the process of collective assimilation of individual attempts to communicate. 

The maquette is already cracking and breaking up. It disintegrates as do so many thoughts that need be transcribed into a more durable form for retrospection and reflection. This disintegration is part of the cycle of things… I envisage the sculpture being held up by iron rods and suspended from above with iron wires. I can use other materials as I look into different configurations while I research the sonic component. But the things is to always start with what is at hand: plaster, air drying clay, paper mache, metal, stone are all considerations. Eventually I shall make a more permanent scale model to resolve difficulties in making and installation; I am sure that new ideas and solutions will meet me along the way. And as I work on this I will consider it holistically with the other works in mind. Language, myth, ritual, group, self, absence, disintegration, unification, permanence, transience…

As the maquette disintegrates, its container is made: the rests of an idea.

 

click on thumbnails to enlarge

Drawing 5: Ennoia

Studies: graphite on paper, 316 x 237 mm

I am drawing as a way of originating an idea. The word idea has its roots in the Greek Ennoia which literally means “act of thinking” as well as “form” and “the look of a thing”. Related to this is idein, Ancient Greek for “seeing in a creative manner”. How fitting it is that a drawing should be a creative way of seeing an idea: a visible manifestation of thinking. This is such a powerful tool for origination.

Images and words are starting to merge; not as equivalents but as different expressions of an emerging idea. My use of words follows drawing, as reflection on the act follows reflection in the action. This process is leading to ideas related to what I said at the start, that I see my practice as a stage on which a play of sorts is enacted. 

The narrative I alluded to in a previous post, started to emerge in drawing 4 and these sketches have crystallised this a little more, particularly in the context of drawing 3. I do not want to say too much at this stage; to keep the revealing in motion and not cut the process prematurely. The creature stands as I, on the threshold of something broad and unknown. Through this metaphor I have seen a glimpse of a transformative process leading to a collection of existential works. It is the origination of a personal mythology. 

 

Impetus

 

The worn graphite pencil glides to and fro searching form, trying to enter the flat surface bounded by the small parcel of paper. Changing faces, it deftly leaves a trace that grows careful not to mark the paper indelibly with a false word. Thought is suspended in the uncertainty of emergence, I keep quiet and let the form tell me what to do. I am in its embrace, as the pewter carbon slates off the point until, it asks me, what shall I do next? We are now partners in shaping this tiny world. For now it must be all the world, no distraction except for breath. Time does not count in this place, movement reckons change: too much and life is extinguished, too little and we are left wondering what if. Imperfections must be left behind; corrections will unravel all that has been done as lines coalesce into form, light and shade becoming sensible with words of recognition. And so the meaning passes onto me as I hear the other’s voice grow faint in this world. My hope is that it waits for me in the next.

Drawing 4: Some Sort of Story Starts to Emerge

Studies: graphite on paper, 237 x 316 mm

 

Today has been the darkest day of the season; rain and cloud but it is not cold. Does the weather influence work? It may do but what it most certainly does is influence mood and interpretation. If interpretation is part of the work, particularly in-action reflection, then the weather must in some way influence the work.

These sketches unlike the previous ones are more of a sequence than a series. It appears to me that one sketch led to another and that by the time I had reached the final vignettes a narrative had started to emerge. I really was not trying to create a narrative but it seems to have come about spontaneously. Is this because subconsciously I look for a narrative or is it that having completed the previous series of drawings, I am becoming more fluent and synthetic? Is it that I am linking the images despite myself?

I was not aware of any particular theme at the outset but during the course of the sketches, a familiar notion has started to show its face. 

Leaving Breadcrumbs and Getting Lost in the Process, Outcome and Acceptance

I am constantly leaving breadcrumbs as I wander through the forest.

The process of this MA is very much about that, process. I am willing to get lost in it as I search for a path towards finding new things and ways. I am consciously entering unchartered domains despite my having established a practice over the years. I feel to not have done so would have been complacent of me. Instead, I have elected to relearn. The drawings are emblematic of this, the way I feel about doing them is an acceptance of being in the process and allowing myself to get lost. It is also a return to origins, to what I did first. However, the point is that each time I explore and find new things I am in danger of getting lost to such an extent that to find my way out again might prove costly in terms of my relationship with my work. What I am in fact doing is looking to create small outcomes along the way, as in Post Truth Hurtling, and the drawings. These are sign posts I am planting as I map unknown territories. Each marker keeps me located and the path taken made retraceable. That is one purpose for keeping a journal. To keep everything in the head is not good for my own sanity: the exploration may be conceptual in nature but the outcome is the concrete ballast that keeps me from capsizing against the storm of ideas that I face. 

Drawing Studies 3

Studies: graphite on paper, 237 x 316 mm

These rough sketches are a change of stance from the previous drawings, approaching the idea called for now ‘Oracle’. Exploring the inside and out of an imaginary prototype, I inhabit the space. This is not an aesthetic exercise in drawing, neither is it a testing ground for the work. It is more of an immersion into the idea, to understand where its physical form comes from. It lives in a landscape but is trapped in the context in which it is found: should be in a desert but it must sit in a room, an exhibit collected and appropriated from the imagination and displayed… for now. It is small yet pyramid-like in conception, is it to be simple or ornate? Is it a temple or a receptacle for sound; the Holy of Holies or a profane Pandora’s box; a landscape contained in the sounds that enters it, sounds processed and altered as a message must be arranged and packaged for its destination


It is now evening and having thought about the work’s geographical limitation, the idea has come to me that, although contained and relatively small, the sculpture can contain the world. Instead of the microphones collecting the sound being located within the same space, they could transmit from anywhere that they might be placed. The sculpture is then no longer limited to its location but it can encompass the world… or at least a greater part of it than before. 

Drawing Studies 2: The Simplicity

Studies: graphite on paper, 237 x 316 mm

Today I drew another set of studies.  It really is an exploratory activity and a reacquaintance with drawing. The images do not conform to the ideas I have for project work but I am glad for that. Breaking away from the constraint of a predetermined outcome fills me with a sense of freedom and renewal; what I talked about in my first post, Elastic Thinking, Synthesis and Renewal. It is in the true spirit of the MA. From these studies something may come but come what may, the thing itself seems to be what matters. The action, the thought, what it might lead to, give me the same feeling I had when I first started years ago. This happens from time to time but for it to happen now is wonderful. 

As I draw I think. I think about what I am doing and how it can be done better. I am learning rapidly as it comes back to me compounded by what I have learnt and experienced along the way. These small sketches represent much more than what they are in themselves. 

As part of my brain focuses on the technical activity, another part nudges me into feeling my way, sensing the concept and translating it into a language expressed in pressure, sense of space, distance and closeness, weight, light, volume. These are all empirical technical aspects. There is also another part of my brain that is released and wanders and thinks of other things. Reflection on the doing and reflection on the reflection. 

I like the way that all this is achievable with the simplest of tools. A block of toothy paper and two graphite pencils. Is this not the simplicity with which artist worked before? From Lascaux to Phidias, Michelangelo to Ingres, Picasso to Moore. The most exquisite work was done with simple tools and materials. How does this compare with digital media? Is the digital another freedom or is it a self imposed exile into consumerism? I have drawn with digital media and found it a rewarding exercise but more for the outcome than process. The smooth layers, the faultless line, edges that leave no ambiguity. It is indeed very seductive and aesthetic. I have rationalised it and it appears valid. But I ask myself, have we become so accustomed to perfection that we are in danger of losing sight of what human creativity is and where it comes from? Is the machine to be the paradigm by which we measure and are measured and origins lost in time and made irrelevant? So many questions come to mind offering contradictory views it is overwhelming. For now I shall continue building this small, simple, limitless world and see what happens.

 

Drawing Study 1: A Friend Revisited


Studies: graphite on paper, 237 x 316 mm

Yesterday I began drawing once again; I have not done so for its own sake for what seems a very long time. The pencil is so incisive and yet so gentle, like no other medium. Graphite slides off the point in response to my decisiveness, tentativeness, hesitation and insistence. It does not lie, it is an analytical instrument that exposes thoughts and my ability to portray them. Its limits are my own. Its freedom is my own. It veils and discloses, it explicates and it confounds. 

I shall draw continuously as a means of asking questions and finding answers. These preliminary sketches are the start of an exploration intended to bring forth ideas for some of the works I have in mind. Particularly what I call for now, Oracle and Sculpture Waiting for Meaning. But the story does not end there. Drawing opens up a world of meaning that is not there in writing. Both writing and drawing are means of externalising thoughts and feelings; they inhabit different realms limited by their own modes of expression and powers to imply. By drawing I recognise my own limitations and constraints which heightens a sense and understanding of freedom.

Post Truth Hurtling

A reworking of Source of Motion and A Foreign Land from Familiar Things : juxtaposing the two to evaluate their relationship and how they work together. (Best with headphones)

 

 

 

Distorted, by the unseen cause of its motion: it is cast down by light towards innocent surfaces bearing the scars of altered perspectives, reasoned at distances by the movement of multitudes whose affect is close, so close. It only looks down and away from where it has come and in small instants vanishes entwined with the light that gave it shape. It dare not look at the source of its making as it hurtles into the silence [silent frozen circle] of its own darkness.

A Foreign Land from Familiar Things

 

Distorted, by the unseen cause of its motion:
Cast down by light
Towards innocent surfaces,
Bearing the scars of altered perspectives,
Reasoned at distance
By the movement of multitudes
Whose affect is close,
So close;
It only looks down,
Away from where it has come
And in a small instant, vanishes,
Entwined with the light that gave it a shape,
It dares not look
At the source of its making
Hurtling, into the silence of its own darkness,
Its own darkness.


Posterior Cogitatio

28 October 2018

Shaping a poem is possibly the hardest thing for me when writing. Discussing this with Janet, we looked at how it could be positioned with the preceding video sketch Source of Motion . I came to the realisation that prose as in Ancestral is how I think. This may reflect the difficulty I have with rhythm. I am currently learning hand drumming, and it is quite challenging for me to follow movements which I would have expected to have come easily. Poetry is very much to do with rhythm, internal rhythm, whereas I am more tuned into the cadence and melody, the movement of ideas that flow in prose writing. In prose there is also rhythm but it is free and unencumbered by what I see as an externally imposed form.

This is the same poem written as I would perhaps have done had I not tried to write ‘verse’. (See Post Truth Hurtling)

 

Hurtling

Distorted, by the unseen cause of its motion: it is cast down by light towards innocent surfaces bearing the scars of altered perspectives, reasoned at distances by the movement of multitudes whose affect is close, so close. It only looks down and away from where it has come and in small instants vanishes entwined with the light that gave it shape. It dare not look at the source of its making as it hurtles into the silence of its own darkness.

 

Unseen Cause

In my last post I started to talk about the shadows projected by sculptures. I also talked about the shadows projected into the studio from the lime tree. It brings together many aspects of interest and this is the beginning of a project.

The shadows of objects in the studio are projected onto surfaces. They move as the light constantly changes by virtue of the movement of the leaves in the lime tree. The leaves move because of the wind. The wind is unseen. The shadows move yet the cause of their movement is unseen.

The leaves obscure the light and let the light through intermittently. This causes a change in the apparent direction of light altering the objects projected shadow. These changes superimpose one another in succession. The surface is set in motion, animated. The shadows moved by an unseen cause and I am set in motion and transported to another world for an unseen reason.

The projection from three dimensions onto two is a transformation of the world. I saw this in Chaos Contained, I see this everyday. The flattening creates multitudes in the mind with its own reduction. These multitudes inhabit the imagination and give rise to abstract thought. Shadows cannot be touched, smelt or heard. They cannot be walked around or picked up. They are only seen, ghosts of another world.

An unseen wind moves the shadows, what if Storm Callum recording were to be attached to such shadows? Next Post.

Reality and the Shadow

One of the aims of this blog is to bring ideas together and forge new works and trajectories. As this process moves on, the bewildering breadth of possibilities presented before me makes it clear that I have to know where to dig deep and what to leave behind. Along the way I will make mistakes: this is the essence of selection.

Despite the title, this blog is not going to be about Plato’s Cave. His is a fable told to demonstrate that our reality is restricted by our bodily senses and willingness to think beyond them. Its elegance far outstrips what it has to tell us about reality. Nevertheless, although Plato got a lot of things wrong and was responsible for much of the wrong headed thinking that followed, particularly since the advent of Christianity, he does present a paradigm to push against.

Logic is not always the friend of an artist. Absurd juxtapositions and non-sequiturs, intuitive thinking and metaphorical rhetoric often lead to far more affective productions than through logic and reasoned argument alone: that can be left for building an argument between stages or after the fact. Plato has inspired far more artists than Aristotle who did not consider it much at all other than the moral benefits of drama theatre. There I go again, talking about the very thing that I said I was going to avoid. However, I do so because it is relevant to what I saw yesterday

During the period of Chaos Contained  I noticed that the shadows projected by the sculptures, as part of the installations, held a fascination that went beyond the curious and had the potential for future work. I have held onto this idea and played with it in my mind until now: I have started to experiment… I will talk more about this in the next post.

The Soul of a Shadow: Project Idea 2

Yesterday the lime tree that oversees our studio, keeps us cool in summer and accompanies us in the winter; the tree that invites birdsong and marks time in its slow arboreal way; this tree was trimmed. Cutting away dead wood and suckers, opened it out to sunlight, letting it flood past the leaves as they are pushed aside by the wind.  Shadows cast into the studio bring surfaces to life and everywhere a frantic dance is choreographed in light. To walk amongst these flickering pools is truly magical. 

The spectacle showed in many places was on the constant move. I videoed the vignettes, each one a jewel. As I did so, Armenian folk music played in the background. It was then I realised there was a connection. The music was as though synchronised with the visual movements, a dance that had a deeply hidden meaning. 

We perceive the world on our scale. From a fraction of a millimetre to several miles we can encompass its size and meter on our terms. Time is measured with the heartbeat and the seasons. It is these things by which music is made. Rhythm is not that of the fly’s or mountains’ but the beat of the heart. Pitch is not that of the bat, the whale or a galaxy but that which we can hear in the voices of those around us. Colour is not that of the infrared and ultraviolet and beyond but of what we need to know without confusion.

 

 

I saw the dancing, for that is what it was, of the shadows cast around and the meter and cadence of the dance matched that of the music. Music that draws from what is around it and nature, that is the essence of folk music. There was a synchronicity between the two and it seemed wondrous and yet natural: not a trick of coincidence but a natural consequence. It now seems as though the two are matched because what causes them is matched in scale and breadth. The wind, sunlight, perceived time and a mind that can see them as one. And if what I tell myself is only a confection, it seems as true as any other truth I can be sure of. 

What I shall do is build on these videos and they may add to the Sculpture Waiting for a Meaning or stand alone as projections. They are verbs to be placed in a sentence. All at the moment is latent and expectant. 

A Sculpture Waiting for Meaning: Project Idea 1

I have many ideas, often all at the same time. I aim to rationalise the documentation of these ideas using this blog. But I do not wish to hamper the processes of openness by which these ideas come about with a restrictive system. However, I realise  that by placing them in some ordered way, I can access, integrate and develop these ideas as I move forwards with other more conceptual and text-based elements currently in progress. It is a balancing act.

This first project idea is one that naturally follows from what I have done so far. Until now, I have taken sound and embedded it into the body of the sculpture so that the sound emanates from it. What if the sound were brought in from outside and were somehow processed within the sculpture’s body

Ceramic shrines are common to many cultures, the pre-Columbian America, The Middle East, India, are all  places where these form part of the archaeological heritage. They sometime have the effigy of some deity held within, but at other times they are quite empty. This is the case for early Middle eastern cultic miniature shrines. Made of stone or clay, they are plain or decorated but always found empty.

I first thought of calling this project shrine but that presumes knowing what its use is and maybe even its content. I have no idea what it might contain at this point. I have many possibilities, and they change with every moment. Even the idea of feeding sound from its surroundings and concentrating them in the space held within the enclosure leaves open the question as to what sounds.

It is clear to me now that this is a sculpture that is waiting for its meaning. It is a structure with a latent destiny. And that is what I find interesting. There are of course aesthetic considerations: how much detail or no detail at all; what materials to use and its size and proportions. These are all things that can be developed as context is refined and intention clarified. Perhaps it could be made of small bricks, each brick imprinted with a significant mark… there are so many things that can accrete. At the moment it is a latent idea. One that can move and alter with time; one that can be integrated with other projects, assimilate them or move to one side. 

Storm Callum

Today I worked on some of the files I recorded during Storm Calllum mentioned in my previous post. I always find it difficult to start; in this case, what to select, filter, edit. Uncertainty at the beginning can be disorientating… and alluring.

It is a moment for decisive action. Each edit is unique, like a drawing it is irreplaceable if lost. There is an excitement in untraceability; it avoids predictability. To note down every detail of the process creates friction and can impede experimentation. After all, if I were painting, would I note down every brush stroke, how each colour had been precisely mixed? No, I make it my own through experience, and so it must be with everything else if I am to be inside the making. 

How I get to a particular point is a matter of working from within the medium. If the work is lost for some reason, as happened today, the creative process has to recommence. It is easier the second time round; I already know the path. The result is not a facsimile of the first but a retelling, and something changes almost imperceptibly. Those small differences are as fundamental to evolutionary change as are punctuated shifts.  

I aim to create a library of experimental recordings and processed tracks that act as aural sketches for works in other mediums. One modality pointing to another.

A 2 minute excerpt of the first rough edit; best heard with earphones

Sound Palimpsest

 

The black surface of the tabula rasa and its use as a palimpsest for ideas made me think about the recording of sound. I think of it as being placed on an aural surface, layers fading and superimposing one another.

Not thinking of it in quite the same way, I had the idea a while ago of superimposing tracks I had recorded on a beach in 2017 to create a chaotic presence.

I recorded the wind in the trees during Storm Callum last week. There was no clarity, only noise, the sound of each leaf, every branch subordinated by the multitudes. They are themselves voiced scripts each erased on the surface of the ear. It reminded me of the littoral recordings. 

I shall experiment with these sounds and others: textures which I can correspond with solid sculpture in a way that I had been thinking of for some time.

 

Tabula Rasa

 

Introducing my (exogenous) tabula rasa. A palimpsest as yet untouched. Made recently, I approach it with the same indecision as that of a blank canvas. It exists in the uncertainty of what it will bear, waiting for its baptism with the first scrawlings of the mind’s eye. A black board on which every idea is erased to make way for another. 

It is where the juice of my mind will be extracted to create flavours with which to work. Rational though I may often be, it is the feelings and emotions that are strung together as beads along a thread of consciousness that form the shape of what I seek. This view has correspondence with the Indian aesthetic system of rasa. An organisation of affects that itself has an affinity with Aristotle’s poetics where he describes how the dramaturge uses devices to engender emotional states catalysed by the play enacted on stage. 

Ancestral

Close my eyes, and I see my parents, grandparents, great grandparents and so it goes on with the people that came before me. As time goes back they become strangers. What lives they led, what thoughts they held, and the world they saw is as much a part of me as it is not. Much the same and so very different, time tracks back tracing humanity to earlier times when there were no wheels and horses had yet to be ridden. The dawn of our time is still an unimaginable distance away from now and yet I go back further. As I think of ancestral forms on hot plains and cool dangerous places, the primitive becomes me, what I am now. Polar jungles and salty seas grow around me where I swim and swelter under an unfaltering sun. Yet I am still there, a small part of me survives the odds of existing. An unimaginable self that still dwells in me, that single creature twisting against its fate, giving birth again and again. I cannot any longer think but feel the cold water against my outer surface as my existence becomes slender. The slight trace of what I would become fading in the darkness, diluted in those moonlit nights when the tide throws me against the furrowed rocks and yet, I am still here. My possibility becomes lessened with every turning of the sun and each generation sheds a part of me as time recedes and me with it and still I am present. I no longer feel but my instinct is still to move with the light and smell the water for traces that are unknown to me. The silt is the dread I cannot know and now all sense of life slowly sloughs off and still the insensate part of me is here. The dim light of life is gently, slowly snuffed out in my thoughts.