The first Fierce Interrobang takes place on 25th June at Warwick Arts Centre.I’ll be leading a 2 hour exercise on exploring the landscape through drifting and wandering in silence. Somewhat altered from the original, it’s provenance is a exercise led by members of Goat Island during one of their summer schools which I attended in Glasgow during the summer of 1998 that facilitated sensory research.The walk allows a simple score of exchanges of leading and following to take a group of people on a collective movement through a landscape. The silence combined with the act of following and not having necessarily having to make decisions seems to allow other senses to rearrange themselves and to come to other prominence. A diffusion of awareness, perhaps more pervasive and peripheral, allows for sound and texturescapes to inhabited and moved through and a collective self-organisation emerges through non verbal exchange.These are small opportunities to be in our everyday environments and to participate in them via slight alterities of orientation and mode by deploying collaborative performative exercises.
Archive for the ‘walking’ Category
My searching out of the subtle gossamer of spider webs involves a kind of peering, a gazing and glazing of the eyes onto planes of nothingthereness, onto thin air; it asks a for a scrying of planes of space, a light visual touching and glancing, gleaning for invisible threads. Photons bouncing off the lines creating appearances and disappearances of silvery threads, and for my eyes to see them they have to almost feel, to relax and not focus on objects but to occupy another seeing, almost feeling out the vibratory strings of cobbe webbed space and knitted architecture with scanning gaze.Scrying is normally associated with seeking out other forms of the invisible and clairvoyant (clear vision) by gazing onto surfaces like mirrors, water, crystals, to descry and to catch sight of layering of vision that belie the everyday optic. Scrying a black obsidian mirror now housed in the British Museum, Edward Kelly seered and communicated the angelic conferences of Enochian magical workings to John Dee. When I first learnt of the mirror I was in thrawl to the glamour and esoterica of Dee and Kelly and the obtuse sigils of Enoch’s angelic scripts. I visited the museum and gazed through the display cabinet glassiness and tried to gaze onto the black obsidian, but it was awkwardly placed and of course I saw nothing. The Enochian alphabet reminds me of Cigninota, the practice of swan beak marking by swan breeders from the times when swans were central to any great feast and were almost eaten into extinction. The marks guarded the swan and would become more prominant as the swan aged.My descrying occurs during walking and bicycling but walking is best.. Gait and gaze move into rhythm in streets and parks and gardens. Corners and angles give practical and partial holds for attaching and fixing, from which to span and arch and spin out dynamic lines. But this is the peering and gazing of no horizons, it’s not a linear looking, or a perspective based measuring, it is diffuse and lateral and proprioceptive. The eyes move back, widen, the back brain settles as the the front brain relaxes. It is less grabbing, more receptive and the body borders feel less guarded and defined, interwoven and implicated into the fabric of the exterior world. Webs are felt on skin, barely and yet tellingly there. Like slight hair strands. Pressure felt and pressed onto the tensile drag lines are sensed with the acutest of nervy skin tact. Fingers and eyes, Eva Haywards ‘fingery eyes’ or peering fingering.
unpack your selves from cryptic stasis
unfold your limbs and smooth out you skins
unfurl your hairs
pass a warm hand over your still closed eye lid
loiter on eyelashed rest on check
poised cuticle solid flow over nails breadth
arrested mole, check A,B,C.
unpick your way into crevices of anxious failures of maybes and maybe nots
and ecstatic successes felt and
feel scattering in silvered stretch marks weltering in skin gorges
re-collect and re-member versions of eyes
egg yolk retinas
fashion patchworks of moments into quilted cut ups
memories punctured with whimsey and fancy
shot through with gold veins
running mutterings fused
mutated never really happened that way but it might, could, would
shiftiness in the conditional
note body temperature rising to swell and flood and flush
fling speculation and body memory into some pretended morrow
find your way back
to your back
to quiet alarm
See how it goes
Take it handy
And where would you be going
at the end of the day
where there’s a will there’s a way
and please remember to cheer up
With contributions from leading artists, academics and writers in the field, Futures and Pasts is a long weekend of live art at the ICA exploring the diverse pasts and possible futures of live art and performance. Curated by writer, artist and performance maker Tim Etchells with the aid of artist Ant Hampton and Lois Keidan (Live Art Development Agency) this ambitious event combines marathon lecture performance with a rolling scheme of conversations, interviews and archival investigations alongside speculation as to the future of this vigorous and vital area of contemporary art practice.
Futures and Pasts comprises four main strands. You can join as an audience member or participant anytime over the long weekend, moving between parallel events and discussions.
These are recordings of small actions of trying to capture spider webs between my fingers to create connections between my skin, it’s topography and the silken structures. I was also thinking about gaps, bridges, spannings, attachments. Alot of nothing and alot of something.
I took the photos of my left hand with my right hand with my trusty point and shoot Canon A480 & I haven’t done anything except crop them. Another person taking the photos with an SLR - and some delicate photoshoping would improve the precision of viewing the filigree threads attachments to the skin terrains.
However I’m pleased with them as small performative enquiries that allow me to move between scale, different focus, orientations and notions of body. These actions very particularly work with touch and the felt as well as sight. There is a way of trying to see spider webs when hunting for them, a slight defocusing of the eyes onto a nearer plane in the search for the giveaway glints and catches of light that betray the almost but not quite invisible presence of fresh gossamer.
Posted in silk, spidersilk, spider, webs, spider webs, textile, walking, skin, Biocraft & Edge Practices, Touch, architecture, Performance, live art, action, Bioart, Biocraft, Non human animal, Bioarchitecture, photography, School of Biosciences residency | No Comments »
webs from Canon Hill Park which I cross during my walk from where I currently live to the University of Birmingham .