Three wall view of the new installation drawing.
Another week effectively lost because of extraneous factors – as much as you might plan for breaks for a variety of reasons, they have a habit of arriving at the most inopportune moments. This week a planned break to visit family clashed with the need to organise moving studios and with the progress of the installation which gains an extra patina of angst due to the ACE funding. The fact that the project is financially supported makes it obviously more important that it progresses and succeeds. The funding was paid into my account this week which makes the thing real.
So I only really got to work on Friday and moved the drawing on as illustrated.
I re-read ‘The Myth of Wu Tao-Tzu’ this week, Sven Lindqvist discusses the morality of seeking to live in art and his own efforts to do so and awakening to the retreat it represents. In the preface to the first English translation, published in 2012, Lindqvist talks about ways he has witnessed this imaginative leap, in Australian Aboriginal art for instance where the pictures are maps of territories that cross the boundaries of physical and spiritual and of his own experience of Fiona Banner and David Kohn’s ‘A Room for London’, a boat atop the Queen Elizabeth Hall. He recognises that “Wu Tao-Tzu had the courage for solitude[…]He had the courage to disappear and continue alone, on the other side of the visible in art.”
the other side of the visible in art.
I had a visitor a week or so ago who suggested that if your work is not about the imminent threat of our climate emergency then what’s the point of it? Lindqvist comes to much the same conclusion, and presents the same lack of hope.
A mental picture of the space;
The Garden is not a copy, or a description, is it an equivalence (obs.)
You walk in the space. There is a path through the space. There is an apparently impenetrable wall around the space but on closer inspection there are gaps. Any hole in the fence takes you to another world (.wrl sense). Through one gap you enter a vast field, at a distance is an object, you can go to it and see that it is a framework of right angles with an ordered tube curving through it. There is nothing else in this space. Yet.
I have not found a way to make roses, yet.
There is the sound of birds singing some distance away.
In the garden a bird hops from one fencepost to the next fencepost.
A cat crosses the garden, curls up under a tree, slows its breathing and disappears.
If you are here long enough you will the cat will reappear, uncurl and walk slowly out the garden. You may follow.
A bird perches on the fence, a female blackbird, she calls shrugging her wings and tail. The call is echoed from a shortening distance.
It would be good to have a secret superimposition of the real and virtual spaces – there are three spaces – REAL – INSTALLATION – VIRTUAL.
Can (shall) I play the sound from the real garden live in the installation?