Stating/Showing

THIS IS A WORKING TEXT (a text that may still need work) OR A TEXT THAT CAN NOW WORK FOR ITSELF…

SUPERIMPOSITION

Making and doing in at time of making-do.

The film and accompanying photographs were taken during a time of re-exposition whilst, mostly, looking at someone else’s formation of exhibition. The Henry Moore Institute became an architectural device, in which to explore ideas through degrees of its compartmentalisation.

The directed compartments were the goods-lift, the disabled-lift, the archive-hold, and the book-store. All are continuing directions / movements in how the building functions in supporting the research institute and its ongoing stature, through catalogue, publication, visitor intake and exhibition delivery.

SUPERIMPOSITION brings these elements together, animating them through movement image so that they may attain a further language. Perhaps a building’s inner workings, especially when its status goes through many changes / transformations, do actually converse: since there is no understanding of space when we are not there to experience it, the next best thing is to make do and use movement to humanise this and try to define it.

This is where the accompanying photography comes in. The images were taken and collected during times of particular inactivity. They focus on the empty space and its quality in transforming languages and ideas through ’empty’ architecture, which in actuality is full of endless possibility.

In addition there are other works from previous exhibiting points of SUPERIMPOSTION. Labelling systems were designed in re-defining the work, what it can be and therefore is at any given moment. Therein a question protrudes: what is the title, the work itself or the label that attempts to explain its positioning and preservation.

Finally, there are a new series of site-photographs that explore a re-visiting to the explored site. The gallery is always at its best during the turbulence and endurance of the interim period, when the technicians, the front of house and office staff co-exist: the building and its workings were always more exposed. This time, the security lighting replaces the fitted lighting, creating compositional forms within in-between space, outside of the gallery looking in.

This is a re-exposition of work alongside a periphery of found photographic compositions. A ‘taking-away’ of SUPERIMPOSITION towards a re-location matches the designs of the Henry Moore Institute’s self-exposition within the virtual domain. Thus, through this work, an ex-employee ties together his new location in Glasgow to his old one on Leeds.

photo·pia (fō tō′pē ə)

The relationships with a found photographic composition and then re-compiling this as an image / object: meaning: the ‘left over exhibition advert’. Lock and key prevented me from accessing the actuality of this object – but I took the picture anyway: and I do indeed become increasingly aware of how it can be used as the beginning / end of an art piece and the re-construction of an environment. I will not give away its location – but it exists in the interim stage and most probably was cast aside by a technician, ready for the rubbish heap.

So I have photographically rescued it from the rubbish heap and kept its documented-sculptural form encased in archival existence.

Here comes the actual notion of its embellishment through digital edit. It is a digital edition of its former found functioning. It had a function but now does not have a function except in how I might see the forwarding of its found potential…

ANYWAY – half of that is rambling tosh – it is a nice image and does generate a good composition, enough for you to question how it has come to be and what it may have been before: this could well be obvious and self-explanatory to the exposed eye. But I like the concept of it being transformative through its re-ignition in photopia. After light has affected found-vision, perspective after probability and potential.

It also adds a certain element for enforcing reflection within the composition: making this reflection unequal delineates reasons for black, reasons for white and reasons for colourisation (for instance how important is colour as far as the object goes – is it there merely for the objects identification. And how much of this work is in its actual form, not its identity?)

Two images from both the exterior and the interior put together – I guess that this is some sort of exercise in looking how things can be constructed and displayed in the end of things. Or the beginning of things. Or the middle of things.

The display will be a series of screen images or framed printed images that then correspond to a construction of the found (or given objects) that will have been altered according to the amount of other images that are made (altered in paint – either black of white.

Circulatory flow will then relate to the exterior mapping and the interior exploration of the building as a whole.

(these images have also been posted on my Central Station image bank page / profile – take a look here)

Blog post for the continuation of the Museum project
APPARENTLY SOMETHEING TO DO WITH CIRCULATORY FLOW

((-according to a friend who used to work with circulatory flow-)) So I already have pictures that have been formatted in to squares with blank-black dots in the middle – the next step is to approach the interior of course (I thought).

“What is the opposite of the outside (the inside of course – ok)” but then in terms of the aesthetic choice and the form that inspired the work in the first place:

“Another element of research finds its beginnings in the make-up of Leeds’ new city museum that opened in 2008. Upon making friends with an assistant who worked there I managed to locate and attain a number of wooden panels that had some sort of use or pre-function: some sort of history that is unknown to me.

The strange thing is that they have perfect circular holes cut in them, the same point on each one…”

THE NEXT STEP IS THE OPPOSITE OF THE FIRST OR THE NEGATIVE

OR THE NEXT STEP IS THE POSITIVE OF THE FIRST – WHETHER THIS IS TO BE SEEN AS MINUS OR PLUS IS DEPENDENT ON HOW YOU VIEW THE INTERIOR OR EXTERIOR OF THE BUILDING….

Story:
It happened when walking through the university (re-visiting another idea “an exhibition in the time it takes to empty / clean / re-fill the university pool” – there is another story to this: my friend went skinny dipping and had sex in the pool – but I am not sure how long an exhibition can last during sexual intercourse) – anyway, I then walked down past the hospital and towards millennium square and the Leeds City Museum. I began to think of the architecture as an explore-able object: how on the exterior there are four definite corners and so on the interior there are four findable corners that can be sourced and photographed. So I set too it: but was told not to use flash photography, and to avoid the MUMMY exhibit for copyright / insurance reasons – the most interesting findings were avenues to un-explore-able spaces: fire escapes and scaffolding and a huge arena-space that was closed for a private function. BUT THERE IS ALWAYS CIRCULATORY FLOW I SUPPOSE.

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.