I have put together a short video documentation of Scales of Intangibility an interactive installation set in a black velvet lined room made during my Studio4 residency at Chisenhale Art Place. Immersive projections of particle trails, filmed from my cloud chamber experiments, make visible the activity of cosmic rays and background radiation that pass through us continuously without our awareness.

1804 documentation scales 4.jpgThrough experiencing this usually unseen activity of particles that shower down on us when cosmic rays strike the edge of the earth’s atmosphere we can begin to think about other possibilities of what might be present in our universe that we are currently unable to interact with such as dark matter.

Excited to hear that in 2019 Science Gallery London will be exploring dark matter with a scientific and philosophical investigation into the fundamental nature of reality, taking  the theory of dark matter as a starting point for conceptual investigations and experimental forms of inquiry.

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Original dark matter detector Boulby Underground Laboratory

The text In the Dark by Alexander B. Fry will be one of the texts discussed during the upcoming Laboratory of Dark Matters event being hosted by Guest Projects as part of their 10 Year Anniversary celebration weekend.

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Short texts which have a relationship to the exploration of dark matter as a scientific or philosophical concept will be presented to stimulate questions and encourage shared knowledge across disciplines and perspectives. These will also include excerpts from Joyful Cruelty: Towards a Philosophy of the Real by Clément Rosset – translated by David F. Bell, 1993 and Edward Irving’s 1905 How To Know The Starry Heavens.

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The New Materialisms Reading Group I attend has been persevering with Donna Haraway’s Staying with the Trouble: Making Kin in the Chthulucene. It has had an influence on the work I am making for the upcoming exhibition at Ugly Duck Lumen: Cosmic PerspectivesThe exhibition aims to inspire a change of thinking through highlighting the precarious nature of life, and the extraordinary set of circumstances that allow us to exist, in an otherwise, possibly, lifeless universe.

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I have been out taking new photographs in local paradise locations to use for submīrārī (earthbound). Printed on organza, the ethereal images will float in water in earthclad bowls, landscapes fluctuating on the cusp of disappearance. Donna Haraway, drawing from Latour, proposes the ‘Earthbound’ as those humans who are ready to rethink and create new narratives with Gaia at the centre, who recognise the entanglement of society and nature and aim to pursue a ‘nonarrogant collaboration with all those in the muddle’. The shift in perspective embraced by the ‘Earthbound’ embodies a grief shared with other species at loss of habitat and disappearing landscapes. It is not a nostalgia for paradise lost but a reappraisal of what paradise could be. The scenes depicted in this work, sourced from prosaic locations named Paradise, aim towards deconstructing a romanticised ideology and bringing us down to earth.

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We must stay with the trouble. It is important to care. ‘We are all responsible to and for shaping conditions for multispecies flourishing…’.

So glad I got to see Marcus Coates exhibition at Workplace Gallery. He shares a similar sensibility to Haraway regarding response-ability and interconnection to other species. He engages in new ways of thinking through humour and pathos. In The Last of Its Kind  a video where he faces the ocean naked, desperately shouting a list of human achievements at an indifferent landscape he brings home the insignificance of the human in the history of Gaia while in Apology to the Great Auk the extinction of this once numerous flightless bird is placed firmly on our collective shoulders.

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Extinct Animals is a collection of Plaster of Paris casts of the artists hands taken whilst performing the extinct animal’s shadow. His work is absurd, painful and joyful.

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Lorna Simpson’s beautiful show Unanswerable at Hauser & Wirth London questions the archive, how we hold onto the past through artefact or memory, ultimately all of this will dissolve away despite out best efforts.1804 Lorna Simpson

Looking through the prism of media presentation of women and the African American experience as portrayed in magazines that reflect a different era.1804 Lorna Simpson 2

There is an appeal in the aesthetic of old magazines, a nostalgia could be evoked. Or it could just be a painful reminder of issues that are still to be fully resolved.

 

1804 1953 Cosmetic RaysThe Tate screening of Jean Painlevé’s documentary films Silver, Photons and Liquid Crystals was a rare chance to see his abstract films made between the early 1930s and the late 1970s on liquid crystals, photons, diatoms and silver nitrate. It was an odd mix of science and psychedelia. Painlevé used the microscope and modern optics to reveal the natural world in intricate detail. I particularly wanted to see the early films of photons and silver nitrate but it was quite hard to decipher and at times the bizarre commentary was distracting. The programme’s finale was rewarding with some stunning footage of liquid crystals.

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Jean Painlevé Phase Transition in Liquid Crystals

Micro to wide angle but with a shared curiosity to re-present the world beyond our natural senses. Andreas Gursky at Hayward. ‘Driven by an interest and insight into ‘the way that the world is constituted’, as well as what he describes as ‘the pure joy of seeing’, Gursky makes photographs that are not just depictions of places or situations, but reflections on the nature of image-making and the limits of human perception. Often taken from a high vantage point, these images make use of a ‘democratic’ perspective that gives equal importance to all elements of his highly detailed scenes.’

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I still have to finish editing the video filmed in the velvet chamber in collaboration with dance artist Paola Napolitano exploring theories from Laban and Plato. The process can be maddening and slow when you are new to the software. I am trying to get to grips with After Effects to clone out some unwanted light reflections but keep finding myself in a black hole and having to start again.

1804 video stillOn the horizon is new work for In Search of Darkness an exhibition curated by Lumen in Grizedale Forest to highlight the importance of preserving dark sky areas and raise awareness of the ecological problems caused by light pollution. My proposal is to create a suspended sculptural print that demonstrates, through the choice of materials, that adding light doesn’t always make things more visible. To relate the loss of knowledge of the night sky through urban light pollution to the unknown mysteries of the universe yet to be revealed.

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Blinded by the light. Great sun spangled woodland scene in an inspiring show from Christiane Baumgartner Liquid Light at Alan Cristea.

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Enjoyed a visit to see Sam Hodge in Surface Tension with Andy D’Cruz and Marcia Teusink at The Stone Space. The works explore the idea of surface tension as a force and a potency between objects and materials.

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Tense with anticipation. Totally enthralling story telling from mythologist Martin Shaw. A woman arises from a mare’s tale plant with red beads falling from her mouth as she speaks, and a king’s son tied to the top of the tallest pine tree, is slowly becoming a crow.

Down below the forest path splits into two. One path is that of the sable. The other path is that of the bear. One is good. One is very bad.

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A second visit to experience the powerful performance of Simon McBurney in The Encounter. Inspired by the book Amazon Beaming by Petru Popescu he tells the extraordinary story of Loren McIntyre, a National Geographic photographer, who in 1969 found himself lost among the people of the remote Javari Valley in Brazil. It was an encounter that took him to the limits of human consciousness and questioned his idea of reality. The evening ended with Marcus de Soutey joining Simon McBurney for an open discussion on what consciousness might be, how it can be experienced collectively, how we determine reality, non-linear time and what happens when we die.

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The dead live on through our memories. Retrieving memories is a dynamic process – every time you recall a memory you have to repeat a pattern of signals – this is how memories change as the pattern changes or becomes incomplete. It’s interesting that there are alternate pathways in the brain to the same or a similar outcome.

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National Geographic reporter Loren McIntyre had his world illuminated to other ways of thinking I wonder if Martin Pomerantz Trailing Cosmic Rays in Canada’s North in 1953 ever had a similar experience, maybe he encountered some women with interests other than cosmetics.

 

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