June 27, 2013 § Leave a comment
I opened a book tonight. In it I found flowers I had saved, pressed between the sheets. Found flowers again found in America, wildflowers. Yellow, yellow, purple, maybe a muted green.
In the book also I had written:
Vespertine. Attenuated. Alluvial. Coalesces. Penumbral. Redolent.
Time becomes ecstatic. Temporal expansion. Revelation that eludes temporal time. Sediment of misery. Indifference.
Sediment of misery. That stuck with me. It felt murky, and unlike words I would ever say. Where would I have experienced such a sediment. It must have been some American inspiration, words to help me see what others had seen. Anyway. Sally Mann, those are her words. Describing the pull of her images and process in Deep South.
I sometimes worry photography is too realistic, too hyperreal. With digital and all. I m iss the exchange with light, the murkiness, the unabsolute. Using time and intensity and pitch and chemicals and silver and shadow and forbearance, filters, glass, aspects of light as the day passes, accidents of chemistry, accidents of mechanics. Age of materials, indecision, sabotage. Which make something real of the moment, unique, manipulated, tools and materials. 8 hours to get that image right in the darkroom. Alone with the image, with my hands on it, watching it bolt red hot from lens to paper. Feeding the chemicals. Looking for the grain. Plus then minus the magenta (strongest) or yellow (weakest).
Breathing all the time. Camera breaths, darkroom breaths, print breaths.
Sediment of my memory.
June 24, 2013 § Leave a comment
June 21, 2013 § 2 Comments
Film documentation of my installation A place prepared for sleep / Staður undirbúin fyrir svefn. 01:10, June 2013.
This film shows the delicate nature of the piece, specifically how each string corresponds with its neighbour – coalescing, diverging, moving in accord with the wind. In the background you can hear the waves of the Greenland Sea and birds calling.
The piece is situated on the cliffs of a peninsula, and the wind can have a strong affect on the waves of the sea in this area. A stronger wind produces vibrant movement by the strings, and also a corresponding louder soundscape from the sea. In time the sounds and the movement of the strings start to share a symbiosis.
It is at this point, at the realisation of the connection, that I start to focus off each specific string. It becomes part of my larger field of vision. The exploration of liminality in this piece, is how it draws out the space between the sound and physicality of a space. How the piece gives visibility to the surrounding sounds (which change), and gives audibility to that which is invisible in a sense (the way the wind passes over a certain place, the space just above the ground).
A place prepared for sleep marries these ‘in between’ aspects and in turn gives the space a grounding, or physicality. From there we can look at collectivity, and how we might share liminal spaces with others.
Documentation above by the inspiring Yogan Muller.
Please view in HD, headphones recommended.
June 20, 2013 § 2 Comments
Above is one of Guido van Helten’s beautiful, poignant and dominant large scale street art mural portraits painted in Skagastrond, Iceland, on blank building space gifted by the city for Guido’s work. Guido’s portraits are rendered beautifully,with a unique layering and opacity/transparency I have never seen in street art before.
This is one of two murals that were based on some portrait studies I took for Guido, featuring crew members of the Huni II, a restored Icelandic fishing boat from the 1960’s. I feel very privileged to have helped with the studies for these final pieces.
As for the Huni II, well, we went on that boat, in a rather memorable fashion…
You can see more of his series here, completed while in residence at NES, Iceland. There is also more artwork in the Summer We Go Public program, programmed by Melody Woodnutt and Kathryn Sawyer at NES.
And of course, Guido has mad skill on the scissor lift!
June 17, 2013 § Leave a comment
Though you never wanted me, anyway.
Peace and blessings manifest with every lesson learn,
If your knowledge were your wealth then it would be well earned.
But, oh, to get involved in the exchange
Of human emotions is ever so satisfying
Why you procrastinate girl?
You got a lot but you just waste all yourself
They’ll forget your name soon
And won’t nobody be to blame but yourself, yeah
Seeking candy, out of line
Broken kneecap, velvet spine
Ca ajunge acus-acus
If I could
Maybe I’d give you my world
How can I
When you won’t take it from me?
I put my soul into what I do
Last night I drew a funny man
With dog eyes and a hanging tongue
It goes way back
You came to me carelessly
I am iris and the lense
The bridge adjusting to the water water water water
The devil might steady
Rattling we’ll taste
Breathless and on again
Inside me today
Around broken in two
Til your eyes share into dust
Like two strangers turning into dust
Til my hand shook with the weight of fear
I could possibly be fading
Or have something more to gain
I could feel myself growing colder
I could feel myself under your fate
Under your fate
It was you, breathless and torn
I could feel my eyes turning into dust
Into strangers, turning into dust
Turning into dust
Turning into dust
Sophie Trudeau on violin and co-writer of this song.
Just a collection, small small small. I feel them all.
June 17, 2013 § Leave a comment
I have applied for a few shows, residencies and studios. I feel really in control of where i am taking my practice. Like I have found my stride. I have a job interview this week at University of Sydney, and have been treated super nicely by ArtsHub in my job search, considering I am ‘teh poor.’
I found all my film footage from Iceland. I have taken all my film in for processing. In this aspect of my life I am winning.