High in the architecture : A thing with of its own, with the wall.

Outpost 230322

Fragments/Procedural Remnants/Palimpsest

Robert Ryman : Used Paint, Suzanne P. Hudson. 2009.

The wall of the gallery is, of course, the surface of the paintings and the wall is virtually pulled into the paintings. While the concept is important, the work has to do primarily with visual response.

Monitor, 1978. Oil on stretched cotton canvas with metal fasteners and four bolts, a thing of its own , with the wall.

High in the architecture,

Something's moving,

Unrecognisable spirit,

Dislocated

It's fate belongs to another time,

Another place,

Projections of fallen masonry,

Ghosts of a once pagan temple,

Standing empty,

I stand empty,

Nothing ever happens,

A vessel filled

Held and spilled,

Nothing,

A trace from another time,

Another place.

Angels, from Sleepwalkers, David Sylvian.

David Sylvian as a philosopher, a foray into postmodern rock, Leonardo Vittorio Arena.

An architectural experience where a site/plot becomes a space of interaction, of mutual subjectivity and inter-subjective identifications.

Drawing attention to the body's concealment, and a list of more reliable things.

Things that through reflection and assessment had made her happy in the past.

A site for something else.

A set of experiences rather than physical features.

The ambiguous state of hiding and revelation.

Minimalism, fluid actualities, spaces between things.

White Paintings, Robert Ryman.

On the daylight nature of materials and substances.

The inside of your home is private and your personal realm of expression, the outside is part of other people's lives.

Architectures that determine how to live/movements for living.

Woodman's juxtaposition of smooth skin and scarred architectural details, alludes to a visual tactility, a kind of attack on the body's surface. An undoing/un-fixing of the smooth skin of which female beauty is assumed to be lodged.

A myriad of textures, colours, new insertions into the worn character of the old repaired building.

Home-Studio, as an autobiographic experience, a place that can be circulated and incorporated into your lives and personal histories.

Skin-Surface-Subjectivity.

Harriet Katherine Riches, 2004.

Staged Conjunctions.

Photography and its phantasm of fusion with the environment and other bodies.

Surfaces, broken down bearing the marks of neglect and decay, patina and aesthetics.

Evacuating a temporal recession into the past, revealing layers upon layers, and the literal tearing or scraping away of the photographic surface.

Asperities between a bodily discomfort provoked by the interplay of skin with the torn and peeling sheets of parched wallpaper, and an irritating, scratching, a pulling away of the delicate layers of the body's skin.

Woodman's paper shell also evokes the maternal body as a space in from which the individuated subject emerges.

One needs to feel the texture of the surfaces and objects in the pictures against bare-skin, to truly understand what Woodman hoped to achieve in her work.

Sloan Rankin, Francesca Woodman, 1998.

Identity becomes discrete and subjectivity realised.

For each photographic self-reflection momentarily ensures the continued (mis) recognition of the subject's own bodily borders falsely acting as mirror like surfaces which prevent the subject's re-absorption into both herself and her surroundings.