Stating/Showing

APPARANTLY TO DO WITH AIR VENTS AND CIRCULATORY FLOW
SO THEN, WHICH DIRECTION DOES THE WINDOW FACE?
BY USING THE NOTEBOOK AS A BLANK, CONCEPTUAL ARENA FOR DISSEMINATING AND CONFERENCING IDEAS – THE PRESENTED WORKS/OBJECTS/SCENARIOS ARE TRANSITORY IN THE GALLERY SPACE THAT IS EQUALLY AS BLANK. AS THE NOTEBOOK IS FIRST EMPTY IT IS THEN REVELATORY OF TIME SPENT WITH IT/WITHIN IT: THE GALLERY THEN, IS TRANSFORMATIVE OF OBJECTS USED AND SCENARIOS SET, CORRESPONDATIVE WITH THE PAGE TO WHICH THE IDEA FIRSTLY OWES ITS BEGINNINGS.

The work I produce is manifested within written pages of a notebook, the set paradigm that withholds notions of language, space and inauguration / organisation of ideas. The practice lies on the periphery of what can be and seems to be a studio, where ideas are then transformed into objects and subjects. Then comes the gallery-arena of ideas to be presented: I propose to use the gallery as a public-studio where the page can be three-dimensional and thoroughly explored.

TO WHICH DIRECTION DOES THE WINDOW FACE, AND WHERE DOES THE SUN LIE? The works in the exhibition will correspond also to the exteriority of the building, and the objects used will be organic with the natural setting of S1 Artspace, which is particularly industrious. This industriousness will be welcomed in furthermore transforming the ideas as they construct themselves within the gallery.

The objects will be of everyday, just as the ideas were conceived within everyday happenings: their arrangement will demonstrate certain dichotomies, developing further inspections upon how an artwork or object is recorded and proven.

Some old sketchbooks re-visited: scanned images from ideas past & numbers noted down and calculationory dimensions made too. Dancing around like visual plethora and infested with spelling mistakes and missed decimal points.

This all amounts to how I see the next stage of work: as a collective whole that needs and covers the process of sketching ideas and making notes for all number and worded reasons.

So I will have a room that will be all to myself and there will not altogether be coherence or progression through the pieces that are displayed: there will be different perspectives on things. Beginnings middles ends and appendices that look more like the beginnings of further things. The environment will be organised but the works may not be. Making use of the floor, the walls and the ceilings. Installed projections, sound pieces, drawing and other things. Intermedia connections: how do things connect through media and how do things connect through how they are recorded, documented and archived? How does art-work work as artwork? When it is conceptualised or when it is archived or when it is on display or when it is documented or when it is philosophised or when it is deconstructed and put back together again or when it is observed?

I would propose this as a collection of works that are foreseen as well as others that are complete or reaching completion. The exhibition will see the end and the beginnings to works that have working-titles as well as other nuances as to their completed selves. Some pieces will be re-established from previous exhibitions and others will be formulated newly in the given space.

BELL TOWER COMMUNICATION (RE:VISITED)

DOUBLE SIDED TAPE

WORD LENGTH / LINE RULE

PAPER WEIGHT IN SIEZE OF PAPER

MUSEUM PROJECT (AIR VENT)

SUPERIMPOSITION

SCANNER PLANT PIANO PIECE (OBJECTS COLLECTION & RECORDING)

ST. MUNGUS CATHERDRAL (LEARNED PATTERN)

some titles to be thinking about in a space. and then some more text…

added at 12.23

This at some point has to make sense