Corpus : Photographic drawings from human outlines
Borderlines : Cley 19, speculative submission for exhibition
CREATING CREATIVE ANTHROPOLOGY INTO TEMPORAL SITES, between the concrete and the spatial.
Utilising processes and strategies and terminologies.
Demarcation, set the boundaries or limits.
Acculturate, assimilate to a different culture.
Ethnology, the study of the characteristics of different peoples and the differences and relationships between them.
NON- SPACES, Introduction to an anthropology of super modernity. Marc Auge. My working practice intuitively reflects and responds to what Marc Auge considers to be the condition of Supermodemity, briefly his defining parameters on the idea of Supermodemity are.
Overabundance of events.
The individualization of references. A SOCIETY IN EXCESS.
My creative practice attempts to reconstitute spaces from this condition of Supermodemity into temporal sites, places from which to solicit a sense of a mobile anthropology, a dwelling that is both intimate and public and promotes solitudes and subjectivity.
Marc Auge states the twenty-first century will be anthropological, not because the three figures of excess are just the current form of a perennial raw material which is the very ore of anthropology, but also because in situations of supermodemitiy the components pile up without destroying one another.1
Contemporary Practitioners like anthropologists will attempt to make sense, they will attempt to resolve, to make or rather remake meaning through the processes of observing the phenomena of acculturation.
1 Marc Auge, Non-Places, introduction to an anthropology of super modernity. (London: Verso, 1992) page 41.
All proposals must be for new work that addresses the brief, artists are encouraged to experiment, be playful and push the boundaries of their practice.
Artists translate cultural moments and offer responses to their environment, whether geographical, political or spiritual. Inviting artist's to respond to the theme Borderlines as it requires an inquisitive approach to the site that surrounds them and to the climate in which we live.
Geographical Environmental Landscape
Migration (Wildlife/Humans) Transmigration
Socio Political Departure
Spiritual Embodied Walking
Borderlines, simultaneously both boundary and threshold.
Visible, Existential, Imaginative, Porous, Contingent, Reflexive, Nowness, Un-Knowing, Awkwardness, Liminality, Territory, Subjectivity,
Concrete Collage : Raku fragment, clay form/photograph, drawing, handwriting and painted surfaces.
Ancient Lights : Abstract Painting and Constructional Drawing for Architectural Glass.
Anthropological Landscape : Drawing from archaeological dig, liquid light, field chalk, charcoal.
Cley, St Margaret's South Entrance : Collage, Sketchbook, working ideas for small glass panels.
Cell, Court, Domain, Field : Layered paper, paint, and absent objects.
Architectural Concerns : Collage ,drawing, installation, blue prints, historical building plans. Scriptorium : Architectural model for a reading space within a pastoral landscape or community.
Working Notes/Extracts and Fragments from site visit. St Margaret's Church
Silence and stillness, social/historical shelter from/within the landscape
A place acting through our sensate/spiritual world, a space crafted by the specificity of its making/usage.
An interior sensing space of a protected and defended/fortified silence, affirming beliefs and community.
Subtle and muted, stillness, embodiment from the patina of use. Bleached woodwork, lightness, dryness and the humidity of absences.
Empty and eroded stone mullion windows/ancient lights, architecture framing its un-making worn, broken and repaired flooring surfaces, ceramic and stone.
What does Borderlines mean to you? Boundary and Threshold
Visible, existential, imaginative, porous, contingent, reflexive, nowness, un-knowing, awkwardness, liminal, territory,
Material Process/Inquiry, Praxis, Content, Context
Form, Existential Qualities/Values AGENCY
Mindfullness of the brief to discover things through the inquiry and engagement with the site.
Documentation, Artist Book, and other media mixed media painting
Small series of glass panels ceramic tiles/facades
Photographic material/photograms, drawings/hangings on Chinese paper
Melancholy Landscapes : The Plague/Vermilion Sands
Film Collages, hybrid processes and temporal states Liminality: Literature/Philosophy/Visual Art
Landscapes : entering/intruding/emerging (holga819) Existential Gestures : Looking away from the sea
Ballard : Vermilion Sands : Speculative Fields/Spatial Practices Albert Camus : The Plague, 1947. (Penguin Fiction)
The townspeople of Oran are in the grip of a virulent plague.
Cut off from the rest of the world, living in fear, they each respond in their own way to the grim challenge of the deadly bacillus. Among them is Dr Rieux, a humanitarian and healer, and it is through his eyes that that we witness the devastating course of the epidemic.
Written in 1947, just after the Nazi occupation of France, Camus's magnificent novel is also a story of courage and determination against the arbitrariness and seeming absurdity of human existence.
'Camus represents a particularly modem type of temperament, a mystic soul in a Godless universe, thirsty for the absolute, forever rebellious against the essential injustice of the human condition'
Shusha Guppy, Sunday Times
Walking into Emergent Landscapes
Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,
Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,
Walking into Emergent Landscapes : Covehithe Beach
The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane
“ Walking was a means of personal myth-making, but it also shaped his everyday longings:
Edward Thomas not only thought on paths and of them, but also with them.”
“To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.”