I kept thinking about the word reside, thinking about how I take for granted my living in the house. So on a quiet afternoon, I imagined myself going to a part of the house deliberately, with a more mindful concentration of the act of going there, to spend time in a specific position. I chose the top of the stairs.
I sat for a while looking around at the two doors in front of me, the bathroom and rear bedroom. Even though I have always been aware of their detail, the more I sat in the quiet, trying to focus on that corner of the house, the more I began to feel a change in my sense of time; it became timeless, as if any reference to the now disappeared. But eventually, something would bring me back again. In the process of floating in time, different potential histories came into my mind. I became increasingly aware, more than before, of the surface qualities and the effect of light on them, how the varying levels of light influenced my feelings of emotions, presence.
I was interested then in this altering of time with heightened concentration towards the subject. I wanted to try and see if I could find another way of keeping myself in the loop of time. In the living room, in front of the fireplace mirror, I placed a simple object. Again, in this basic experiment, I found the object, on looking for a sustained period of time, took on a presence, it connected to something outside of the room and kept bringing me back to the present.
I realise the importance then of the artwork being on object that requires time spent with it, looking at it, feeling it as part of the space as an object exerting its own influence. Maybe then it is possible to go beyond the room, find my way into the far margins of these spaces. The work needs this back and forth movement.
I sat for a while looking around at the two doors in front of me, the bathroom and rear bedroom. Even though I have always been aware of their detail, the more I sat in the quiet, trying to focus on that corner of the house, the more I began to feel a change in my sense of time; it became timeless, as if any reference to the now disappeared. But eventually, something would bring me back again. In the process of floating in time, different potential histories came into my mind. I became increasingly aware, more than before, of the surface qualities and the effect of light on them, how the varying levels of light influenced my feelings of emotions, presence.
I was interested then in this altering of time with heightened concentration towards the subject. I wanted to try and see if I could find another way of keeping myself in the loop of time. In the living room, in front of the fireplace mirror, I placed a simple object. Again, in this basic experiment, I found the object, on looking for a sustained period of time, took on a presence, it connected to something outside of the room and kept bringing me back to the present.
I realise the importance then of the artwork being on object that requires time spent with it, looking at it, feeling it as part of the space as an object exerting its own influence. Maybe then it is possible to go beyond the room, find my way into the far margins of these spaces. The work needs this back and forth movement.
Anthony Boswell. Doorways. 2012
Anthony Boswell. Marker. 2012
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