Stating/Showing

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

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.

I have begun to construct some sort of language with these boards: but they need a place to temporarily re-establish themselves….

Masking tape seems to be playing a part again, as some of them hang in my studio, left for days a then a little more is teased out of them

I’ve had them since April 2009: I wonder where they will end up.

The above text was written some time ago, and since I have returned to Leeds and the site (from its exterior). I began to make something of photographing elements of the architecture with the hope of correlating what I framed with my camera, with the found material that is the boards. What struck me were the signifying holes in the middle and how such signification can be translated and used as a way of relating the two types of imagery…

This will hopefully develop in to some kind of object-based installation.

I have been consorting with the idea of how labels for a work can also be works in themselves: and how such works get to forward and re-locate an idea past its presented state – a visual definition is aided by a textual pre-disposition. What I am interested in doing is turning this on its head and playing within the paradigm of text as a visual area to express fictions from actuality. The labels go back to the source of how a work is made – but does the source have to be reflected in the title, or is the title in this respect the end result rather than a beginning?

Four films have been made from a direct resource: The Henry Moore Institute (HMI) acted as a resource and the architecture it inhabits lends itself to its very function as a research institute as well as a publicly-accessible space. I took to finding and bringing visual communicated, by-way-of recording spaces, pockets of the building that are essential for its academic as well as every-day running. These was an investigative process and the end result may indeed be the labels that I here present with this particular post in this particular blog. The text in the labels goes beyond – to make congruence between the environments through text and explanation.

The labels are then taken further as they are re-interpreted as physical grounds on which new drawings and trajectories are made. Upon one of the labels, which acts as a form of telling how the rendered films and other labels returned to the original site (74, LS1 3AH – which refers only to the address as a building, not an actual named institution – there is a certain anonymity about this).

INSTALLATION SHOTS FROM DAYLIGHT SAVING
IN THE FORM OF FORMATTED CATALOGUE PAGES –
CATALOGUE ONGOING @ tinyurl.com/DAYLIGHTSAVING

Now it is odd to consider the end of this, the installation seems to unsubstantial next to all of the research that has gone in to it. A few people have mentioned how well executed the work was, and I guess this is to do with how long I had considered the actual hanging of the work – it site-specificity seems to rule the roost as it were, rendering something that is inherent of the space and appreciation of it. It is also credited much to the other people involved.

What happens now:

There shall be a short talk next Wedesday, 4^th November (6.45) in time with the Artwalk in Leeds. From then on the work will exist in its online catalogue form.

What I have started to do is format the images and installation shots, as well as other content and texts into the same page-layout. This will then form the basis and consistency of the online presence, in which the exhibition eternalises itself. This allows something to be edited, retreating from the idea of setting something in stone after its consolidation, keeping it edit-able and updatable as we see fit.

This will also forward the working partnerships between the three artists that have been involved in the project: allowing for more contribution and mutual conversation between concepts and ideas.

I for one am watching this space, as well as having a lot of fun with Illustrator!!!!