Interactions of Colour and Bodies : Rothko/Neri/Kundera/Schiele, subjects alone in a moment of utter immobility.

Manuel Neri

Milan Kundera

Josef Albers

Mark Rothko

Egon Schiele

The use of the word 'immobility' recalls an article that Rothko wrote in the 1947

"For me the great achievements of the centuries in which the artist accepted the probable and familiar as his subjects were the pictures of the single human figure - alone in a moment of utter immobility."

p84, Possibilities , 1, New York, 1947

The world is overloaded/the nature of things : Peter Zumthor, Jean Baudrillard

The world is overloaded of signs and information, representative of things that nobody completely understands, because they are in turn nothing but signs representative of other signs.

The real thing remains hidden. Nobody can ever see it.

Peter Zumthor

The nature of things cannot be discovered by analyzing them according to their functions, by labeling or categorizing them but by understanding their relationship to people, their behavior and emotions which caused creation of these objects.

Jean Baudrillard

Spatial Gathering/Murmuration : The Fleeting Cathedral/Vast Forgetting

We live our lives sunk in vast forgetting

 Milan Kundera, IGNORANCE.

Cyanotype from a site drawing, Space for Peace, Winchester Cathedral 2011.

Human mapping of social groups wthin the duration of the event.

Mono Print : Cyanotype process on paper, 52x42cm.

Reading Spaces/Tracing Light and The Illustrated Man

The Cathedral~Weathered Experience/Sympathy : Human Occupation/Liminal Rites of Passage.

Weathering Experience with Fired Clay : A Lined Surface~Making Feelings

The Cathedral: Human Occupation/Liminal Rites of Passage.

"Memory records an insignificant minuscule particle of the past."

IGNORANCE. Milan Kundera 2002.

Coiling Over.

Tim Ingold.

How things can offer themselves to one another on the inside. How they can join 'with' rather than join 'up' in sympathy rather than articulation.

Its surface is textured, like a veil, by dint of its long endurance of the atmospheric elements. That is its weathering, a lined surface that greets the digits of the archaeologists hands, and joins them in the movement of (making) feeling.