(Above) Eight 2.25m towers with phosphorescent concrete tops. In the darkened space a sound recording taken down Taylor’s Shaft plays: drops and gurgles from the flooded mine.
I am going to edit this post a bit more later, but for those who have been in touch wanting to see the work but being unable to make it, here are some images. The opening showcased a few pieces; the residency involved far more…!
50cm high towers in another room sit in a ‘landscape’ of flour. Made up of 7.5 billion specks, there is a piece of flour for every member of the human race.
Mylar blanket, the same area as the largest room, is raised up by rods the same height as the ceiling. On the walls are screen-prints of sinter from Tywarnhayle.
The Frontier towers seen through the structure of Tectonic. Each length of wood is the same height as the ceiling in Back Lane West. The Mylar foil sheet is the same area as the floor of the main room it inhabits.
I am re-familiarising myself with Rebecca Solnit’s Wanderlust, Bruce Chatwin’s Songlines and Anthony Storr’s Solitude.
Concrete looms, above head height…
Trying to manufacture my own phosphorescent paint, with varying degrees of success…!
Should the three rooms of the space be seen as a triptych?
I have been working with dark light and white blackout. A frustrating day in which, on reflection, I have been asking the wrong questions.
I am drawn to the idea of work becoming one through joint interruption of the space. A dialogue through inferred (compositional) connection.
Started the day with Besh O Drom: Ayelet Chen, ending it with Keith Jarrett: The Survivors’ Suite.