‘the abject object’ for speakers of International Art English.
Translation by practicing students
the abject object (IAE version)
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Go forth and make art happen.
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To begin is all.
With everything happening for her, the artist despairs at the dislogation of unifying elements. All paths lead to dispersion.
Spurning opportunities for a horological allocation of gainful employment; Cullinan focussed entirely on the disemination of items of a personal and utilitarian adornment, both ‘snip(e)ing’ and ‘pil(l)ing’ to an end result of great internally reactive satisfaction.
To form phrenomological activity in excess has become to Cullinan a source of unified pleasure and pain. Accumulating in it’s wake a plethora of synaptic responses which may, or may not lead to metaphysical self annihilation.
Resistance is useless.
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Once again, Cullinan deplores her perpetual inability to perform in the arena of widely recognised accomplishment. What was once a weekly hiatus, now obliterates the life blood of creation on a heightened platform of acceleration.
Doomed to perpetual handmaidenhood, the artist questions whether this will be a once and for all indefinate definition of self.
It is both tormentor and muse, in which truth, the intimate association of close proximity brings at climax only loss. Humour relates a bitter truth again.
On a practical agenda, options are limited: Continuation on the path leading to self obliteration? Forge a DIY mindset and risk anihilation of a different breed? Or seal onself into closeted hermititude? Here, closet claustrophobia pervades.
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The artist’s ability to traverse the time/space continuum with alacrity this week has caused for euphoric outpourings of ecstasy.
She no longer fears failure. The ever present cyclical spectre is powerless in the face of her qualified accomplishments.
ART: There is nowhere to HIDE.
Releasing her core sounds; vibrations emanating from the start of time; Cullinan gives thanks to the affirmations she finds deep within her psyche.
Studio work progresses with avengance, allowing for a serendipitous approach finds the artist fiddling with a minutiae of detail, each, like snowflakes, a unique individual that obsess her with their perfection. Tactile and easily lost; she sacrfices to them her displaced body to adorn.
Closure WILL commence.
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The artist is at the mercy of her own whimsical flutterations. Deploring her own lack of physical and mental rigour, she determines not to be swayed (momentarily, for now) by the musings of contemporaries.
Time is short, work undone.
Cullinan’s performance debut as part of collaboration SSoCiaL with socially engaged artist Sally Lemsford, was now in the receeding past but it’s emotional imprint lingers on in the present. To focus on the interpretation and processing of this intensive experience was to be delayed by snouts and technology, whilst mingling irritatingly in the diversions of daily life.
A more fulsome rendering of the debut of Cicatrix Macula (paratus) is forthcoming on
Cullinan rates the experience as ‘interesting and unexpected in extremity’.
Initially sworn to hang up her performance heels, she is now making plans to don her superhero pants – over the top as usual.
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