Progress is slowly underway on my dodecahedron sculpture. Beginning with a rough mock up in card to gauge the size.
I was relieved to finally finish screen printing the curse of the obelisk. Never had so many setbacks in a piece of work.
Made of one single stone, dedicated to the solar gods, an obelisk is a fusion of the earthly and the divine. A symbol of power, piercing entry to the fickle world of the gods beyond the clouds, cursed and desired. Over 3,500 years old, the London Obelisk, raised on The Embankment for convenience sake, snubbed by a state embarrassed to revere a shady political gift made by a country they were about to undermine, fought its removal from the soil it was hewn from stands alone, separated from its twin. The gift to state made in 1811 lay fallen and uncollected in Alexandria until an eccentric Victorian adventurer (Sir James Edward Alexander, Knt.,C.B., K.C.L.S, F.R.C.E.) saw the twin in Paris and discovered that Britain’s prize had never been brought home. He found a fellow enthusiast with money and the pair designed a special vessel to contain the obelisk that could be towed behind a ship. The Olga set sail in 1877 but met a violent storm that broke the tow ropes and cast the obelisk adrift. Six men struck out in the storm to rescue the vessel but were never seen again. The obelisk however did not sink and was later discovered, recaptured and finally towed up the Thames to be set incongruously upon a plinth under the unblinking guardianship of Victorian repro Sphinx’s who traditionally would be outward facing to ward off evil, but spend their days eyeing the needle.
I had an intriguing parcel arrive from the incredibly helpful Alan Walker from the School of Physics and Astronomy at The University of Edinburgh who is giving me loads of advice on building my cloud chamber. He has very kindly had an anodised aluminium plate made for me in his workshops. The plate is the one crucial component that has to be specially made so it was wonderful to find that he had done this for me.
The black metal plate will sit on dry ice, it will be the viewing backdrop for all the cosmic particle trails and I can now get on with the next stage – making the insulated box.
I have set up a hydroponics tent in my studio to create a dark space ready for filming once the cloud chamber is fully assembled and ready to test.
On a very crisp bright day I took the crystal ball a short walk along the banks of the River Wey to the ruins of Waverley Abbey.
This was the very first Cistercian monastery founded in Britain 900 years ago by an Abbot and 12 monks from France.
These images of the crystal ball set in different locations are part of research with a view to making a work about portals in time, space and imagination.
The first work you see at Bloomberg New Contemporaries, ICA is Kate Fahey’s delicate plumes from a multitude of explosions billowing into one giant cloud – Cumulative Loss.
Through scale and fragility we sense the dust caught momentarily before it settles over devastation upon devastation. It sets a thoughtful tone to enter the lower gallery.
Lisa Porter’s glazed stoneware Connection X (Thank Finch for That) and Rodrigo Red Sandoval’s installation Satellite reflections were two works I was drawn to.
Kate Fahey’s Superficie images developed during a residency on the remote Isle of Coll were included in Reference Mollusk, a beautifully curated exhibition with some timely concerns at new gallery space Gossamer Fog in Deptford.
“We are the goo that slipped out of the oceans 430 million years ago, the goo that changed the earth beyond repair, the goo that will fossilise, leaving only future archaeological relics”
Helen Maurer re Composing at Danielle Arnaud had a delicate touch.
Transferring from the forsaken voids of the Church of The Holy Trinity in York it brought with it the quiet sense of unease that comes when entering a darkened space on a summers day.
The gentle chimes sounding from hidden spaces under cabinets added to the undercurrent of something slightly sinister
by exposing the construction of this fairy tale landscape Maurer adds rather than depletes mystery
This was a captivating transformation of space at the House of St. Barnabus Chapel. Staccato is an audio-visual installation by Evy Jokhova
exploring the interconnection between music, movement and ceremonial architecture
featuring three sculptural works and a soundtrack made in collaboration with James Metcalfe.
In similar vein, I was struck by Dr Rupert Till’s comment ‘architecture and acoustics are the same thing.’ He was speaking on the Radio 4 programme Did Stonehenge Sing? explaining the mysterious hum that emanates from the stones and how much more powerful the sounds would have been 3,000 years ago when all the stones were still standing. Thanks to Dr Till the lost sounds of Stonehenge have been reimagined for us to experience today.
Finally made it to a meeting of the New Materialism reading group. The text was Veronica Strang Fluid Consistencies: Materiality and meaning in human engagements with water http://dro.dur.ac.uk/19432/1/19432.pdf Points that struck me were the observation from Tilley that ‘knowledge of a thing is grounded in our bodily experience of it’ and it made me think of Plato’s debate on true belief and knowledge, although a different kind of knowledge it does come back to the idea of being there, of engaging on a physical level. We think of flowing rivers, water carried in clouds but not always of the movement of water around the globe held in a juicy pineapple or mango or even our own bodies. I was introduced to the work of Samara Scott and her liquid painting Developer created with bio-degradable dyes in the Pleasure Garden Fountains in Battersea Park.
The reading group meets at the Wellcome Trust Reading Room. On the same evening, another group was meeting to discuss materials as part of an collaborative programme between artists and scientists. I didn’t get to note down the names of participants, but a magician and an expert from the Institute of Materials had each brought along objects to spark debate. I liked the relationship struck between that of the magician as performer and the idea that the materials themselves are performing.
Turner Prize visit. Materials were performing here.
I found the materials of Helen Marten (left) difficult – though there were some I could enjoy like this wonderful ceramic disc I felt more of a connection to the materials of Michael Dean (right). It is something very basic about a reaction to the surface and the connotations it brings with it.
Marten’s sculptures are very busy visually. Like a car boot sale, unexpected juxtapositions and mostly cheap and nasty material. (though I do appreciate the thought in her designs). Anthea Turner offered more open space, albeit surrounded by brick walls and facing giant theme park style buttocks, moving on to the next room offers open blue skies but also disturbing chastity belts. Heaven/Hell.
Josephine Pryde brought us homely goods; thick kitchen worktops bleached by the sun leaving hazy shadows of random objects. Also painted fingernails. A sit on size train tastefully graffitied encountering leaves on the track.
Finally entering the space of Michael Dean; smoothly curved walls morph into the floor, a strange unworldly lighting (as in James Turrell light works – the walls disappear) and you are in a void or maybe underwater.
The work (United Kingdom poverty line for two adults and two children: twenty thousand four hundred and thirty six pounds sterling as published on 1st September 2016) consists of £20,436 in pennies. This is the amount of money the government states is the minimum that two adults and two children need to survive for a year in the UK.
One penny has been removed. A family on the shore line/breadline, trying to keep their heads above water.
This landscape has similarities to the war blasted landscapes of Paul Nash showing concurrently at Tate Britain.
He too acknowledges the primitive power of single vertical forms.
Enjoyed the playful narrative of Bedwyr Williams’ The Gulch in the Barbican Curve.
Always intriguing and despite ominous undertones uplifting through the sheer joy of following the surreal twists and turns of his stories.
The simplicity of his constructions are part of the exuberance in his work, they provide the outlines for the journey.
Went to see Melanie King’s installation Pulsar Oscillograph as part of SPACE/LCN showcase of projects that have been developed by artists with the support of the LCN programme over the course of 6 months.
Transforming audio pulsar data (supplied by artist and former astronomer Steve Aishman), Melanie uses laser beams and mirrors to draw these “sounds” captured from outer space onto phosphorescent paper. The images layering, building and fading to the frenetic beat of the spinning collapsed star. As part of The Laboratory of Dark Matters experimental residency at Guest Projects Melanie will develop an Oscillograph to visualise data obtained from dark matter research scientists in their search for the missing 85% of matter.