Archives for posts with tag: black holes

Hito Steryl’s essay In Free Fall: A Thought Experiment on Vertical Perspective talks of groundlessness, the loss of a stable horizon  as we enter an age of remote viewing and constructed visualisations that can invoke disorientation and require acclimatisation to new perspectives. Gravity is explained by Einstein as the curvature of space time; we are constantly falling through space. A black hole occurs when a massive star runs out of fuel and collapses in upon itself, compacting its mass to be so dense it causes a deep pocket in space time so that anything falling into that hole beyond the event horizon has no chance of escape.

It may sound a little dramatic but when an event you have been focused on for so long is no longer on the horizon but you have passed into its gravitational field and are sucked into its vortex it can feel like free fall, you pass through so quickly and just keep falling.

At least we took some photographs on the way through. For many of these we are extremely grateful to Sara Lynd for capturing Laboratory of Dark Matters so expertly and considerately.

In the short space of time at Guest Projects between the Lab. Talks+ and the exhibition opening I worked on some images I had taken when running the cloud chamber.

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The original intention had been to print images of cosmic particles from the cloud chamber onto acetate and fix them behind the etched aluminium plates on the dodecahedron frame, there would be a band of light inside that would rotate, scanning the universe.

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In practise the cosmic particle images were lost behind the etched plates along with the open structure of the frame and the rotating light proved temperamental.

There was also a large expanse of wall available.

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Susan Eyre The Forms photo Sara Lynd

The result was I have two works.

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Susan Eyre Diazôgraphô photo Sara Lynd

The immutable truths Plato discovered in geometry belong to the realm of abstract thought he called The Forms. This is where ideals reside, outside the limitations of the physical world and where, if anywhere, paradise might be found.

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In visualisations of dark matter created from scientific data we see familiar organic patterns emerge; the fronds of dark matter spanning galaxies could be the spreading branches of trees or the veins under our skin.

 

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Susan Eyre The Forms (detail) photo Sara Lynd

 

These projected shadows of The Forms that govern the structures of our universe invoke a primordial response. Plato suggested we harbour memories of universal truths in our souls.

 

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Susan Eyre Diazôgraphô photo Sara Lynd

 

The exhibition suddenly came together.

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We were honoured by a visit from our lovely and generous host Yinka Shonibare.

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and really appreciated his interest and chatting about our individual responses to dark matter research

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Amy Gear Nudge photo Sara Lynd

Amy Gear’s digital video work projected onto suspended body parts was edited from footage of the Women’s Self Defence and Green Screen Workshop that explored the visibility of women in the universe and the anticipation of the nucleus of a Xenon atom being nudged by a dark matter particle.

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Amy Gear Nudge photo Sara Lynd

We enjoyed the way the works overlapped with each other.

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Daniel Clark Veil photo Sara Lynd

Programming a vinyl cutting machine to draw with a marker pen instead of to cut, Daniel Clark created Veil, a reimagining of the single line engraving of the Face of Christ, known as the Sudarium of Saint Veronica, by Claude Mellan from 1649.

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Daniel Clark Veil photo Sara Lynd

Daniel also installed Edge-work, a series of radio receivers delineating the space with sound waves being received or distorted by the interference of the human form.

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Daniel Clark Edge-work photo Sara Lynd

Every so often the words of U.S. defence secretary Donald Rumsfeld echoed through the space… ‘ there are known knowns; there are things we know we know. We also know there are known unknowns; that is to say we know there are some things we do not know. But there are also unknown unknowns – the ones we don’t know we don’t know.’

In keeping with pinning down the unknowns is Peter Glasgow’s work.

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Peter Glasgow The Indicators of Illusive Ideas photo Sara Lynd

Hints lie in the MDF stand and printed text, a DVD booklet from Game of Thrones. These are really props for a live performance when the text is richly spoken and like the text itself they make no claims to legitimacy.

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Luci Eldridge Untitled (Dark Matter, Reconstructed) photo Sara Lynd

Luci Eldridge’s 3D print with silver leaf, reflected on privacy screen, and scanned Germanium fragments isolated in the blackness of space take on metaphors of time-warp spaceships and thundering meteors.

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Luci Eldridge Germanium Fragments photo Sara Lynd

Sarah Gillett uses methodology borrowed from Private Investigators creating a detectives evidence board to map the history of a gold ring that began in supernova explosions billions of years ago, arriving on the earth through an asteroid bombardment and now sits on her mothers finger.

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Sarah Gillett The Case of the Gold Ring  photo Sara Lynd

The journey of the ring from raw element to love token brings the incomprehensible and the everyday together in a story we can relate to.

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It gives us pause to wonder at the origins of matter that surrounds us.

Kate Fahey takes us further into the subconscious

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Kate Fahey Dark Adaptation (video still) photo Sara Lynd

How long does it take our eyes to adapt to darkness? What other ways of seeing exist?

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Kate Fahey Optimistic photo Sara Lynd

What senses should we rely on? What role does intuition play?

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Kate Fahey Divination Sticks photo Sara Lynd

Her video installation, live performance and emblematic sculptures draw on old forms of knowledge and refer back to the lectures of Rudolf Steiner to open a dialogue between ancient and modern technologies.

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Kate Fahey Feelers photo Sara Lynd

There is a hypnotic allure created in the dark space where Melanie King’s Cosmic Ray Oscillograph operates. A laser light is sporadically jolted by a solenoid translating data from the LUX project to traverse a rotating disc coated in phosphorescent powder.

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Melanie King Cosmic Ray Oscillograph photo Sara Lynd

While we cannot see dark matter directly, only infer it indirectly from the spin of the galaxies and gravitational lensing we sense something is present and speculate its structure and role in the universe. Elizabeth Murton tests these theories, creating hand spun porcelain galaxies vulnerable to breaking apart, strung across the universe palpably supported by the threads of dark matter.

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Elizabeth Murton Connective Matter photo Sara Lynd

End of residency Going Dark gathering begins

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Late viewing opened with a performance curated by Kate Fahey. Tim Zercie, as spiritual scientist urges us to awaken, to open our eyes and our minds, to engage our senses and be transported aided by the mesmeric playing of uileann piper John Devine.

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Peter Glasgow’s spoken contemplation on the commentaries that run alongside a process; the vagaries of trying to get close to something but failing.

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Captivating storytelling in The Case of the Gold Ring from Sarah Gillett

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Light dimming

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Within that ordinary space were hidden the building blocks of the universe.

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Dark matter allows structures in the universe to form by pulling matter into its gravitational field.

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We have our second venue confirmed and the first of our funding applications submitted for Laboratory of Dark Matters.

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I have been to see the lovely people at Cleveland Ironstone Mining Museum who will be hosting our exhibition from July to September 2017.

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We are very pleased to be able to install Laboratory of Dark Matters so close to Boulby Mine, in the North East of England. This is a working mine that is also home to the underground laboratory we visited in spring to see for ourselves where scientists conduct research into dark matter and other projects that benefit from this extreme environment.

Cleveland Ironstone Mining Museum has secured funding for major expansion over the next year with the whole site being redeveloped. This period of change gives us the opportunity to be inventive with the spaces that are available.

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Chatting with our dark matter consultant astro-physicist Dr. Cham Ghag about the different work the artists will be making for Laboratory of Dark Matters I was explaining my own interest in the symbolism Plato assigned to the dodecahedron as the shape that holds the constellations in the heavens and how I might use this as a metaphor for dark matter as the substance holding the universe together;

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Cham recommended I read some essays by Erwin Schrödinger that explore the thoughts of ancients and how they have gone on to impact our understanding of the universe. As Roger Penrose says in his forward to Nature and the Greeks and Science and Humanism ‘Schrödinger clearly believes that there is more to the study of ancient history than mere factual curiosity and a concern with the origins of present-day thinking.’  He is looking back to a time before science and the metaphysical parted company and set out on different paths to answer the same questions about matter and consciousness. Schrödinger explains the history of this rift and the consequences of separating reason from the senses; the paradox of an objective perspective and the limitations of science that excludes the imagination. I read What is Life? followed by Nature and the Greeks, while in Greece which seemed appropriate.

I also read Plato A Very Short Introduction by Julia Annas and have learnt more about his ideas and what was really meant by platonic relationships.

Plato was very concerned about what it meant to have knowledge and how people can be misled or manipulated by others.  From this standpoint he was not keen on the theatre or the popular epic poetry of the time that used seductive methods to persuade an audience of things that were not true. 1610-amphitheatre

He believed philosophy was a search for truth and his academy was a place to learn how to think for oneself through debate and come to your own conclusions. Not great as an artist to find Plato had no time to indulge the imagination but going back over what he was saying I think he had a valid concern over the sort of entertainment that is spoon fed to society and becomes part of a culture that then has influence on the way people live. It is the pap of the media that does not challenge but anaesthetises society. I am hoping he would approve of our endeavours to question the origins of faith and our relationship to matter.

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Visiting Athens I had the opportunity to experience the majesty of the Parthenon and Temple of Zeus while trying to imagine the people I was reading about spending their days here debating the most fundamental and difficult questions about existence.

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An interest in history and archaeology led the progressive and pioneering Gertrude Bell, born 1868 in County Durham in the North East, to visit and fall in love with the lands and people of the middle east. She led an extraordinary life at the centre of middle eastern politics at a time when women were rarely conceded any powers at all. Letters From Baghdad, premiering at the London Film Festival, was a moving portrayal of her life told in her own words and those of her contemporaries recorded in evocative letters and archive film footage. This wonderful tribute to a woman previously written out of history was researched and directed by Zeva Oelbaum and Sabine Krayenbühl, founders of  Between the Rivers Productions, a name derived from the ancient word “Mesopotamia.”

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Another brilliant film documentary was Dawson City: Frozen Time; the bizarre true history of a collection of around 500 silver nitrate movie films from the 1910s – 1920s, which were lost for over 50 years until being discovered buried in a sub-arctic swimming pool deep in the Yukon Territory.

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Meticulously brought to us by Bill Morrison, clips from the reclaimed  films form the backdrop to the history of Dawson City, a once important hunting and fishing camp for a nomadic First Nation tribe known as Tr’ondëk Hwëch’in that became the centre of the Klondike gold rush displacing the native people as the area was swamped with 100,000 prospectors hoping to make their fortune.

The talk Going Round in Circles – from the roundabout to the quark delivered at Manchester University and the RCA as part of the final year of my MA programme was a reflection on the development of my practice and brought home the themes that repeat themselves within my work.

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The circle appears in the  banality of a grey suburban roundabout that seemed a metaphor for a routine existence, becoming a catalyst in the search for paradise and its origins of Pairi Daêza and going on to question the matter that these dreams are made of.

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William Blake The Ancient of Days frontispiece to Europe a Prophecy depicting Urizen separating light and darkness

I was therefore interested to visit Seeing Round Corners at Turner Contemporary Margate. They had thrown the net wide in drawing together artists that have used the circle in their work or responded to its significance as  symbol.  I am often disappointed by this scale of exhibition that packs so much in. Too much information at once. Annoyingly there was no catalogue and no photography allowed. I have to rely on remembering what I saw.

More circles to be seen in the beautiful collection of works in  Romanticism and the Sublime curated by Jonty Levin at Lubmirov/Angus-Hughes.

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Mohammed Ashfaq Black Hole III

The most mysterious circle of them all, the black hole was the subject of Professor Joseph Silk’s Gresham College lecture. We learnt there are two types of black hole – stellar black holes formed when massive stars die and supermassive black holes which sit at the centre of galaxies and probably formed along with the galaxies. The existence of black holes was first proposed by clergyman and philosopher John Mitchell in 1783. Einstein predicted the existence of gravitational waves in 1916 and in 2016 this phenomena was finally observed providing direct evidence for the existence of black holes.

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The spiritual vs physical human needs- Mike Kelley showing at Hauser and Wirth, recreates a piece of social architecture from the Chinese-America community of LA, reflecting a unique cultural collision in Framed and Frame.

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Also at Turner Contemproary Margate was Yinka Shonibare’s The British Library, a seductively beautiful celebration of all that we have gained from first and second generation immigrants who have enriched British society with brilliant literature.

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‘Is this that pinpoint which is divided by sword and fire among so many nations?  How ridiculous are the boundaries of mortals.’ Seneca AD 65

Haunting work by Lygia Pape at Hauser and Wirth exploring the relationship between reason and nature through geometric shapes.

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I was interested to read how she followed intuition when creating her woodcuts; to let relationships between shapes be guided by an underlying sense of ‘magnetisation’. The artworks created then embody and emanate energy which creates ‘magnetised space’ into which the viewer is drawn adding another dimension to the field.

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Forces are at play but gently held, as in the fragile balance of pigment particles, cascading and spreading in Ttéia n.7

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and the silver threads of Ttéia 1C that appear and disappear as ephemerally as a shaft of sunlight.

Between Materials and Mechanisms from Elizabeth Murton; an exhibition with associated events and symposium was hosted by UH Galleries at The University of Hertfordshire. This work looked at connectivity and the structures that physically bind us together, spanning our body, architecture and space to explore how interactions of ourselves with matter reflect in our consciousness and effect our emotions.

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Bringing together ideas and experts from fields including anatomy, philosophy, dance, visual arts and Zen Buddhism we enjoyed a day of theory and physical engagement which really brought home these relationships through dynamic experience.

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Prof. Diana Cooles’  keynote speech Dirt- A New Materialist Approach helped set the background to the history of materialism from the old materialism of the first thinkers like Plato where consciousness and matter are separate to Freud and Marx where theory and matter are integrated. New materialism rejects the duality of mind and matter and believes that agency is not just a human capacity. Bruno Latour is a prime exponent of flat ontology where everything is equal in its capacity to be an actant. Prof. Coole went on to give examples of the agency of matter, looking at dirt and our relationship to it. She drew on the writing of social anthropologist Mary Douglas who classified dirt as matter out of place. Dirt is associated with pollution and waste but also soil and nutrients.

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It changes agency depending on its location; inside/outside. She also looked at artists who use dirt in their work not as a material to comment on society or value but as a co-collaborator, allowing the dirt its transgressive qualities to create a visceral experience for the viewer.

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Interestingly I have found Mary Douglas has also written an essay that examines circular thought patterns from ancient texts, Thinking in Circles: An Essay on Ring Composition. The abstract is as follows – ‘Many famous antique texts are misunderstood and many others have been completely dismissed, all because the literary style in which they were written is unfamiliar today. So argues Mary Douglas in this controversial study of ring composition, a technique which places the meaning of a text in the middle, framed by a beginning and ending in parallel. To read a ring composition in the modern linear fashion is to misinterpret it, Douglas contends, and today’s scholars must re-evaluate important antique texts from around the world.’

 

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Mona Hatoum +and-

 

Another experience of dirt was the excellent broadcasts from DIRT collective including  Peter Glasgow It’s not the Digging it’s the Dirt as part of ArtLicks Weekend which can be listened to via above links.

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 All of which reminded me of this work “THREE STONES” (2004) Antti Laitinen dug a hole and collected the stones he found after seven minutes of digging, seven hours and seven days.

 

Settling in. I have moved into a shared studio right next to the newly branded Thames-Side Print Studio at Woolwich.  I have a great studio partner, Kim Vousden who works as a graphic designer with a foot in the digital camp and hands on in the analogue world of letterpress. I switched to my new location just in time for Open Studios so it felt like a moving in party.

During Open Studios the on site gallery was host to a sculpture showcase from the resident studio artists.

Three sculptures from my everydaymatters series exploring what we can and cannot see in our environment were included.

In my studio space I set up submīrārī – floating images that invite a primordial contemplation of a dreamlike space and hint at the usually invisible molecular movement in water. I would love the opportunity to fill a room with these.

Here Be Dragons– Gordon Cheung’s show at Nottingham Castle is a timely reminder of the fragile structures we build our world upon. The volatility of the market, the inevitability of mortality, façades and fading glory. I visited before June 23rd but it could have been a premonition of the dis – integration we have witnessed since.

The moving image works loop through collapse and reassembly in an infinite cycle so maybe I should take hope from this that we can rebuild our world. Other scenarios are captured in stasis as they fall like sand from the sky. Beauty of entropy.

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There are also magical vistas, the open plains and misty mountains of hopes and dreams. In these works we see how the world is put together and can question what our dreams are built on.

The digital cascading algorithm works give the impression of a world made of sand but in large textured landscapes sand itself is used to create an unstable ground. Grains cling precipitously hanging in crumbling strata from the canvas, dusting the floor with allegory as they fall.

Lumen Studios presented VOID, an exhibition held amid the airy grandeur of St. John on Bethnal Green, a pertinent setting for work exploring the representation of voids, black holes and portals.

There was also a screening of Sarah Sparkes film, Time You Need  which explores the potential for consciousness to time-travel within the material limits of the human body.

Among the works were Black Hole photographs, a typology of voids found in numerous locations around the world from Jane Grisewood.

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There was a fascinating talk from Chris Welch, Professor of Space Engineering at the International Space University in Strasbourg, France, about the representation of black holes and voids in space physics and science fiction. Black Holes are Red Super Giants that explode and collapse.

I was particularly interested to hear him speak about tidal forces within a black hole as I have just completed a soft ground etching intertidal looking at the effects of tidal gravity on the earth.

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A human falling into a black hole would experience extreme tidal forces that may cause spaghettification – the stretching of the body due to the difference in acceleration between the head and feet. The smaller the black hole the denser the matter the stronger the force. He put the possibility of worm holes into the world of science fiction saying they would require the unknown quantity of negative energy to pass through a portal from one point in the universe to another. A lot of negative energy has been released lately so you never know, maybe this was the leave EU campaign’s attempt to time travel back to their mythical golden age.

A recent uplifting article from Sam Leith in The Evening Standard praised Stephen Hawking for his ambitious project to put together a comprehensive three-dimensional map of the entire known universe. The Cosmos computer will trace the movements of billions of cosmic objects, using data from the Planck satellite and the Dark Energy Survey. Leith exudes ‘What a thing of awe and wonder! And the stuff that’s not there will be even more exciting than the stuff that is. Think of the holy hush of the Canes Ventaci Supervoid – a region of empty space more than a billion light years across. It makes me think of Wallace Steven’s lines –

"the listener, who listens in the snow,
And, nothing himself, beholds
Nothing that is not there and the nothing that is"

Possibilities of parallel worlds were explored by Andrew Schneider in his physical performance piece YOUARENOWHERE staged at Shoreditch Town Hall.

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You are nowhere. You are now here. What if every time you experience near death your life splits in two, even if you just think about death, maybe you did die and another self took off in another parallel world. Setting the scene for tearing the fabric of reality he stumbles and glitches through monologue and dialogue, directly addressing the audience to commit to his unravelling of the physical world. The moment when the backcloth drops and we are face to face with another audience I shuffle to try and catch my own reflection but find no duplicated movement. The character on the newly revealed side of the stage does however mimic Schneider. They play out a dance of disbelief trying to catch the other out to discover who is real. The audience is asked to swop sides and at the next curtain drop our doppelgangers have disappeared. We are left to contemplate the fleeting glimpse of our other selves performing a similar existence.

I experienced the magical journey that is The Embrace of the Serpent in the first few days of  despair over the divided state of our country following the Brexit vote. It seems we are doomed to keep pressing the self destruct button to the bitter end. The film is stunning in its beauty and poignancy for a world being destroyed through greed and ignorance.

As in Complicite’s The Encounter our relationship to stuff is questioned. The heavy boxes of the scientists weighing down the smooth passage of the canoe. Both the Shaman and the scientists giving their own agency to objects be it a sacred necklace or a gramophone record.

 

 

 

Relationships. The discovery of gravitational waves was the inspiration for some recent etchings. Trying the same image in softground on steel and hardground on zinc.

As I understand it gravity is the result of a relationship between the bending of space time and mass. The recording of these waves pulsing for the briefest flash of time when  two black holes collided and merged into one has excited scientists. This merging of two black holes was such a massive event that it caused ripples in the fabric of space time to spread out across the universe. 1604 two black holes

I was first introduced to the idea of beauty in mathematics and the extraordinary collaboration  of Cambridge professor G.H. Hardy with Srinivasa Ramanujan, a self-taught mathematician from India by the Complicite production A Disappearing Number.

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Raymond Flood’s Gresham College lecture on the value of collaboration between these mathematicians along with J.E. Littlewood and Mary Cartwright gave further insight to their relationship and the advances they made in mathematical analysis and number theory. What interested me was Littlewood’s summation of four distinguishable phases  in creative work: preparation, incubation, illumination and verification or working out. Preparation is the conscious research and the problem should be kept in mind at all times. Incubation is the work of the subconscious and the waiting time can be several years. Illumination can happen in a fraction of a second; it is the emergence of the creative idea into the conscious mind and implies a mysterious rapport between the subconscious and the conscious. The verification is then just a matter of realising the idea, the hard work has been done. I feel this.

My etching ‘Forest of Eden’ was selected for ‘Blind Plural’ at Hundred Years Gallery. The exhibition ‘comments on or plays with issues related to the nature of hostility, its forms and representation…’

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Susan Eyre Forest of Eden

In history the wild man’s characteristics reflect topical fears and aspirations, violating the taboos of civilization and symbolizing the repressed desires of society; they oscillate between horror and fantasy. I wondered who a contemporary wild man might be. Someone on the edges of society, both fascinating and repulsive. I had come across images on the internet of this person who posts photos of himself posing almost naked with guns strapped to his body. An internet meme shared with equal disgust and fascination – I placed him back in the forest of all our origins.

Jane Boyer raised some interesting questions about self awareness with her solo show A project space called I at ARTHOUSE1. An exhibition of the I-artist curated by the I-curator.

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Jane Boyer enigma wall

My own mind struggles. How can I separate myself as artist and myself as curator with regards to my own work. 1604 Jane Boyer Minerva

Surely I want the same things in both those roles. I start by thinking I can see how this works if I separate myself as chef and artist. Looking at different roles I play and how I react to people from these different perspectives. A bit like cross curriculum activities, but within myself. I think I’m going to need a chat with Jane about this sometime.

 

 

Alongside this I have been reading Seven Brief Lessons on Physics by Carlo Rovelli whose final lesson Ourselves tells me that I am a process which adheres to the laws of nature. There is not an ‘I’ and ‘the neurons in my brain’. They are the same thing. My unique sense of self is the rich culmination of billions of interactions and processes within my brain that reflect my personal history of experience. So with this in mind the works in the solo show are the markers, the process made manifest and as Jane presents; an autobiographical curation of a self.

Denise Gough playing Emma in the play People, Places and Things makes a plaintive cry to the world at large – why is it that she can’t cope with reality, why is it that she is overwhelmed by the unjust nature of the world and must resort to mind altering chemicals as a means of escape when everyone else seems just fine with it. The audience joins her in a spiral of despair.  Denise Gough’s performance is extraordinary and totally captivating, how she can put herself through such emotion every night is another question this play raises about how we separate ourselves from reality. The clinical rehab set protrudes into the audience arena like a neuron connection within our collective brain.1601 People Places and ThingsThe play is a visceral interrogation of self and relationships. The cause and effect of actions between mind and body. Self destruction and self renewal.

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People, Places and Things

When Emma finally emerges from months of tortuous self analysis to face the world alone she is advised that to maintain her freedom from addiction she must avoid anything that might trigger associations with her past life causing her to relapse – she must avoid people, places and things.

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As part of London Open House weekend I visited the Government Art collection on a guided tour and behind-the-scenes look at how this major collection of British art operates. There was a lot of security and in most areas no photography. Our Government (us then) owns a collection of around 13,000 works of art mainly by British artists from the sixteenth century to the present day.  About 75 per cent of the collection is on display in British Government buildings in the UK and in Embassies and Residences around the world. The idea is to help promote British art. There is a meagre budget to purchase new work with most of the funding going to conservation, transportation and installation. A nice perk of being a civil servant is to have the choice of some great works for your office, for the rest of us they do offer a lunchtime tour of a small viewing gallery and the racks to see what’s been left in storage.

The raw space of the Bargehouse on the South Bank was a great setting for the meditative pieces of Kate Fahey. The degraded building echoing the degraded web images she appropriates into her work.

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Kate Fahey

Pulling the digital from the screen into the world of matter, she reverses the process of the viewers visual overload of images.

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Kate Fahey Possible Object

A hundred explosion images become one, one grainy image is cast solid in aluminium and a slow beat metronome stills us.

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Kate Fahey counting/uncounting

We are in a war zone, in slow motion.

Bedwr Williams animated line drawings that made up the film Writ Stink at Limoncello showed the deconstruction of a man obsessed with hiding his secrets – turning on fellow creatures, suspicious of everyone he meets – maybe with good reason – life becomes a battle to preserve, to hide away and disengage.

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Surreal, comedic and tragic we are left wondering about the power of knowledge.