the world has ears the world has eyes the world can smell the world touches and feels and moves the world the human the person senses or feels in every different way that every different human senses and feels impressions colour smells feels walking feet conversation ground fluid air life nothing is simple everything is simple the setup for everything is exquisite in unity and multiplicity all of this I pass through all this air component parts to understand simplifying is necessary so then it is simple because an actual physical experiential we are of the same language experientially we converse and are detected by everything we walk through the stick falling in the forest with no one present falls on the ground whether anyone is present or not what is sound which is not heard by human ears opportunity outside of arrogant reductionism reducing things down to human experience allowing the importance of that which is not us but which acknowledges us just as I walk past horses in fields pillons someone with a weed strimmer in Walthamstow Marshes birdsong insects fly late spring mid spring spring following me in front of me moving away from me out of the space that I occupy as I move paths change my path alters others paths seeing talking feeling space watching observing the difference of space changing altering dancing in space Is everything we do perfunctory? a dreamer walks dreaming bumbles and chances upon gold gold? not gold gold not gold whether not gold or gold all surrounding is a conversation with me we share and watch space with the butterfly flutter camouflaged conversation with bird ends in nutrition all is ears and eyes and senses the mind takes this for its track minds track the mind takes things into the mind but the mind does not occupy the sensory world other than as a switch board the switch board is not the function all is sensors and response everything I pass notices and articulates response in the slightest way quiver of a leaf a darting of a robin the interest of a cat space changes changes of space dynamic flow all is still never all is still not still things change and alter progression of change and alteration this is nothing to that that is nothing to this we find and locate space dynamic changes mating flies on a step as I walk down move out of the way change location I am part of this I am this each part is entire each part is the whole of this there is nothing outside of this we can not be reduced each part can not be reduced will not survive only abstract like a line of no thickness on a CAD drawing its impossible the line always has thickness otherwise the line is not visible a visible line can not have no thickness it just has a thickness at a certain time its variable its not true it is true that the code of all of this is somehow separate from all of this is an extraordinary notion that the code is stored that there is a there is somehow a central computer bank with a plug going into an energy reserve but what if the articulation was coded from within that the energy was stored entirely from within that there is nothing which is not that there is no outside there is none there is no outside all seeing god all seeing god is through everything must be otherwise it is not omnipotent omnipotence is all present the clue is in the word its impossible to be all present unless you are everywhere therefore god is everywhere all seeing god is all seeing all seeing every where perceiving seeing perception this is the thing this is the code
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This space surrounding
articulated sensing this emptiness fluid changes we fill direct in relation through approach we converse with the space seeing how our movement and our conversation alter this which we do not see Shaping the unseen the air we displace is affected by us we have consequence in our now in our being this that we are physical a material conversation multiple articulations a complexity simple and sophisticated This energy moving not often considered the absolute sustainable the engine of presence dynamic presence moving now Many leaves dynamic like us tendrils moving as we do the delayed effects of our passing Obvious then mysterious in equal measure If I consider what this work is responsive articulate a presence as a living thing Harnessing the energy of life the movements and changes of the surrounding air the approach of the viewer inspires a reaction the space is transformed through us consequence in action energy all pervasive Ingrid Pollard Carbon Slowly Turning MK Gallery 12 March - 29 May me the maker my role here is a thing selector my part to play is an assembler of shapes of objects of histories of places of combinations I am a choreographer of things into another thing born of ideas carried by Ingrid Pollard to me through many conversations words spoken and written between these word spaces a dynamic here what is no longer words becomes a thing natured illuminated uncovered in drawings and by multiple calculated failures which are known as prototypes systems of support systems of animation systems of manipulation systems of restraint systems evocative to the human systems separate together mechanical cold hard warm soft systems dynamic static moving unmoving passive violent objects I love to look at things closely.
To take in what it is beyond my first glance impression. There is so much to take in and no matter how far I go new aspects continue to emerge. I once spent a joy-filled afternoon in the collections room at the Natural History Museum with a microscope journeying the valleys and ridges of a dragonfly’s wing. In all of my sculptural pieces there are details which only become apparent when time is given to observe and digest. I stand alone
with a fighter on each hand feeling the impulse to punch and being punched in the same moment a model for the now
(a morning thought) the now is a living being I am a manifestation of this living breathing organism of the present what I am in this wholeness is the totality of this completely there are no reducible component parts what seem to be such components are also total and complete experiences of the present we are now I am now you are now all of this is the organism which is the present the part I am in experience and reflection is complete yet not the only and exclusive present all that humans have manifested indicate and elaborate this position fluid and always moving even when in apparent stillness Art in all of its iterations is a tool for the knowing and experience of place and movement mechanisms for feeling touching sharing the now which I am which you are It is the human
the touch the feel the holding The object is transitory the experience of the thing is the thing itself Distraction is the build up of material flow through of intention is the happening Wonderful clothing is of little import when there is nowhere to go A thing is for something this something can be obscure so then the thing travels through imagination’s garden Admiration and wonder If to give importance these things are titled as being weapons The seriousness of them Or shall they be toys The frivolity Both sides the same The object is not the thing the thing is the grasping the imagining A relationship then demonstrating the thing The yo yo is thrown away
this action of throwing through the physical nature of the yo yo causes also the return of the yo yo Why does this feel good? To physically throw a solid thing away and then for this thing to return perhaps it confirms what we feel deep down Life can be simple and mysterious at exactly the same moment coupling
an essential mechanical property of joining (biologically) perfected through sexual union joined to move to share solid liquid between all this is what is between this is the joining of the absolute completely separate absolutely in union so the same for this time machine is but one part mechanical physical there is a part not this but apart of this what is this? Why do I make Art
I make art to share ideas and thoughts with other people I make art to discover other ways of connecting the stuff of the world surrounding me I make art to feel and experience thought processes I make art to enjoy the way I feel even after I have felt I make art to experience my own impression of the world around me I make art to mark stages in my journey I make art as a poetic body of knowledge that doesn't have to be clear, defined, literal I make art as I instinctively and naturally make art I make art as my life reflection and gift to myself I make art to investigate and research ways of thinking ways of being I make art to suggest and express an essence of things I make art out of a simple joy of the materials colours feelings of the things which I use to make art I make art to manifest an opportunity for community to form around creative working I make art because it feels to be a significant necessary important imperative activity I make art to investigate first hand the making of something I make art to bring another thing into the world I make art as the way a work of art becomes is such a mysterious process I make art to experience how the wholeness became manifest I make art as it is freedom I make art because art is functional in ways which are challenging to define I make art because I can I make art as it holds my interest and wonder and fascination I make art as it is the closest activity to the true nature of all things I make art as it can not be solved or known or completed I make art for the enjoyment of others I make art because I want to make art I make art to be different shapes and sizes I make art to transport myself into another material I make art to be intimately within the fabric of the world I make art as I love strategising a system I make art to freely experience methodology risk process I make art to experiment I make art so as to innovate I make art to find new ways I make art to discover further where I am and who I am through things outside of me I make art to project myself externally so that I can view see myself as another |
March 2024
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