On his recent visit, my father brought a few packages from his collection of… ‘things that will come in handy’, from his shed. These are for my perusal and for my studio partner Gill, who sometimes incorporates elements from old tools, in to her practice. One of these packages was wrapped in blue polythene and tied up with one of Dad’s magic slip knots. The sensation of looking at this connected directly standing in front of my blue wall. The cord, drawn around waiting to be opened. Inside were a few of my old drawings and lino cuts.
Covered.
Held.
Revealed.
Draped.
Taut.
The objects and contents were not the thing. The looking was.
Briony Fer quoting Agnes Martin in, The Infinite Line * said that looking at art was like, 'a simple direct going into a field of vision as you would cross an empty beach to look at the ocean'. Fer continues, 'Vision is evoked as a kind of crossing. It is not simply a matter of looking at the vista before us, but of entering into and moving across a field of vision. Distance the kind of distance that - maintains the horizon in its proper place is collapsed as a kind of limitless depth that engulfs us. The horizon cuts the sky and but is not fixed and is always relative to the moving spectator.' for Fer the 'ocean' is, sea,land, city or memory. Looking for me, not only at art, is this experience. The crossing of a layered depth, with access to the depth through points where the material and object and illusion become indistinguishable, indefinable, indisputable.
Covered.
Held.
Revealed.
Draped.
Taut.
The objects and contents were not the thing. The looking was.
Briony Fer quoting Agnes Martin in, The Infinite Line * said that looking at art was like, 'a simple direct going into a field of vision as you would cross an empty beach to look at the ocean'. Fer continues, 'Vision is evoked as a kind of crossing. It is not simply a matter of looking at the vista before us, but of entering into and moving across a field of vision. Distance the kind of distance that - maintains the horizon in its proper place is collapsed as a kind of limitless depth that engulfs us. The horizon cuts the sky and but is not fixed and is always relative to the moving spectator.' for Fer the 'ocean' is, sea,land, city or memory. Looking for me, not only at art, is this experience. The crossing of a layered depth, with access to the depth through points where the material and object and illusion become indistinguishable, indefinable, indisputable.
Moonlight white.
Slicked oil.
Carried.
Reflect black.
Drafted weave.
Lifted.
M.P. September 2014
Slicked oil.
Carried.
Reflect black.
Drafted weave.
Lifted.
M.P. September 2014
'The Luxembourg Gardens in the cold. Trees studded with white and yellow buds beneath a pale-grey sky. The long parallel lines of the terraces, the fat black lines made by the rows of trees, all as if in a design etched by memory for ever and ever.'
Paris, Julien Green, 1983. Penguin, P 91.
Paris, Julien Green, 1983. Penguin, P 91.
*The Infinite Line, Briony Fer, Yale University Press, 2004. P57.
If you are interested in applying for the next residency please read here http://resideresidency.weebly.com/apply.html
Deadline for applications is 6pm on 24th January 2015
If you are interested in applying for the next residency please read here http://resideresidency.weebly.com/apply.html
Deadline for applications is 6pm on 24th January 2015