tag:blogger.com,1999:blog-21608353082255665042024-02-19T15:52:24.515+00:00Fire Station Booksbookshttp://www.blogger.com/profile/06343293137996675942noreply@blogger.comBlogger11125tag:blogger.com,1999:blog-2160835308225566504.post-70922619770677238872011-09-28T09:19:00.020+01:002011-09-28T11:23:01.699+01:00<div style="line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: justify;"><span class="Apple-style-span" style="line-height: 17px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">In response to the changing aesthetic and redevelopment of the Old Fire Station Site in Oxford, Sarah Hughes has created a series of 60 books, in three section, which articulate her reception of the space. Text is positioned against a series of images taken at various points of the Fire Station's refurbishment. The quality of the prints, a dense and heavy print suggestive of the rich history of the site, is juxtaposed by the fragments of text and text extractions which portray the quality of the aesthetic, the insatiable reflection and the indispensable quality of space.</span></span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace; line-height: 17px;">Between September 29th and October 2nd 2011, these books will be made freely available throughout public spaces in the centre of oxford, offering a sideward glance of the forthcoming site, which, through its redevelopment, offers the opportunity of an interconnected arts space, cafe, auditorium, and study centre for single homeless people in the city.</span><br />
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<div style="line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></div>bookshttp://www.blogger.com/profile/06343293137996675942noreply@blogger.comtag:blogger.com,1999:blog-2160835308225566504.post-73745801263727828162011-09-18T14:30:00.028+01:002011-09-28T10:52:37.598+01:00An Insatiable Reflection<div style="text-align: justify;"><div class="separator" style="clear: both; text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">In creating a work out of the potential, or possibility of a future work, is one not in reality creating a work of neither sort, but merely something approaching something else. It is not an action or a substitute yet beckons both. It is in many respects muted as a work, but full of previous actions and events. What concerns us here is the present. What is happening in the present? The work, this work, finds itself immobilised by a history and a future, both of which are contingent on the work presented in the present, but what is happening now is neither a work in progress (once removed perhaps) or a public work that affects. In documenting the Fire Station, the whole process becomes about the present, and its relation to its past and it continuing into the future, and yet, in reality, in actuality, the only thing that exists is the present and all that accumulates to it creates it and all that is projected as a yet to happen event is informed only by the sum of what has created the present. To work without plan, to work continuously in what occurs in the present and in the gradual formations of pasts reduces the erroneous assumptions and makes a work </span><i><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">of</span></i><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"> its not knowing, and its willingness to fail. </span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The present of writing, will at the time of reading be a formation of a past in the present, will exist in two space/times simultaneously, the distinction of the two is internal to the reader and external in its actuality. All the states that have existed to create the completion of the fire station will exist in the fire station as a totality that is imbued with the absence of its making, the eventual removal of time. This work is, rather than muted, a coalescing of past events to one present, this present, the present of reading. In reading now, one becomes party to a series of pasts and is forming an action of the presence and as a part of the formation of the work, the future work, the consciousness of its knowing is integral to its making. It is the continuing to be present (in action) that gives rise to an ability to respond to an event. </span></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">If one can bear (carry) in mind a previous event in can in its making present inform the reception of the actual present and become again a present event, recalled in action. In knowing the significance of a book made as an impression of an installation, as a probing of the ordinal reception of a work, of a making present, an ephemerality, and a making present an event one finds a continuous reflection, a mise en abyme, and a strategy of making work. This work is this strategy in action, a constant and insatiable reflection.</span></div><div class="separator" style="clear: both; text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span></div><div class="separator" style="clear: both; text-align: justify;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-family: Times;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimUEWTmeUydcjDa3r2NyescYZDOpOV48ak8pQ2uscRIHGtdMiqSa2Ew8NmoQ0GUL8njhFDvqfTYqsZL-mvhXeSMqt1_x4ImLUZKvPQBsoOfFgMTbBgzakRU7V88gOz2QGr4RNuvCNH7jK-/s1600/P7052661.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimUEWTmeUydcjDa3r2NyescYZDOpOV48ak8pQ2uscRIHGtdMiqSa2Ew8NmoQ0GUL8njhFDvqfTYqsZL-mvhXeSMqt1_x4ImLUZKvPQBsoOfFgMTbBgzakRU7V88gOz2QGr4RNuvCNH7jK-/s640/P7052661.jpg" style="cursor: move;" width="640" /></a></span></span></div></div>bookshttp://www.blogger.com/profile/06343293137996675942noreply@blogger.comtag:blogger.com,1999:blog-2160835308225566504.post-79541314719200410192011-09-18T14:26:00.011+01:002011-09-28T10:42:07.035+01:00The Indispensable Quality of Space<div style="text-align: justify;"><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Is it necessary to make a textual distinction between writing as a response to space and writings which reflect on those responses, to make aware the shift in the ordinal reception of the work, or to allow for a dynamic to manifest out of an unspecified push and pull of response and reflection? The immediacy of the text becomes a matter of scale and the self referential, the writing on the process of writing as a response, once and twice removed (a ternary reception, or more so still) becomes a filtration, an act in retaining the impression of a space through words, words that are, most importantly not attempting to describe, words that are, for the most part seemingly unrelated but which carry the indispensable quality of the space.</span></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_kIooNaC_TMbNdzNd6hRWle15YHBQD5d79HX7RNitateC75CwUfSW3gEptcrmwOH9By7TI7ms-N4W0IGAl_U4oZ83rAaVrTDBBnkh4BjbEv9ARu8OFOkMtxhj79m53209p55Eu6Ik6YAN/s1600/book+1+1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_kIooNaC_TMbNdzNd6hRWle15YHBQD5d79HX7RNitateC75CwUfSW3gEptcrmwOH9By7TI7ms-N4W0IGAl_U4oZ83rAaVrTDBBnkh4BjbEv9ARu8OFOkMtxhj79m53209p55Eu6Ik6YAN/s640/book+1+1.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
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</span></span></div>bookshttp://www.blogger.com/profile/06343293137996675942noreply@blogger.comtag:blogger.com,1999:blog-2160835308225566504.post-10505004212362281052011-09-18T14:18:00.016+01:002011-09-28T10:43:07.110+01:00Vacancy as Protagonist<div style="text-align: justify;"><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">It is the degree to which a pose is unstable that gives the clearest indication of its movement, its potential energy, the energy held by a body. In a still image one projects the future movement of the body according to the success of its depiction, and can quantify the speed, angle, weight and possible result of a fall or the precariousness of an imbalance, a captured instance can relay a wealth of information. We never perceive a body as it is depicted by Muybridge, its swiftness, or countering that, its stillness, is made apparent. David Hockeys' </span></span><span class="Apple-style-span" style="line-height: 18px;"><i><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Picture Emphasising Stillness</span></i></span><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"> makes an explicit reference to the limitations and possibilities of painting in this respect, with the leopard caught mid-pounce before an oblivious couple, the viewer is assured by the text which sits between them</span></span><span class="Apple-style-span" style="line-height: 18px;"><i><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">, "They are perfectly safe, this is a still"</span></i></span><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">. </span></span><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Is there similarity to Muybridge, in the role of the vacant space between the figure and ground, which gives the sense of a falling body? The vacancy in both images becomes the protagonist. It is the dimension of the absence that enlivens these images, and affords them the energy they contain.</span></span><br />
<div class="MsoNormal" style="line-height: 18px; text-align: justify;"><div style="text-align: justify;"><div style="text-align: justify;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="EN-US" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The photograph captures the changing state of the Old Fire Station, it suspends and gives weight to the space between the two public faces of the building, the disused and the redeveloped, the space between these two states is veiled, the photograph is offering a glimpse at an unveiling, capturing the swiftness of a moment imbued with an energy inherent to a body in movement.</span></span></div></div></div></div></div><div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.3pt 56.65pt 85.0pt 113.35pt 141.7pt 170.05pt 198.4pt 226.75pt 255.1pt 283.45pt 311.8pt 340.15pt; text-align: justify; text-autospace: none;"><span lang="EN-US" style="line-height: 115%;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
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</span></div></div></div>bookshttp://www.blogger.com/profile/06343293137996675942noreply@blogger.comtag:blogger.com,1999:blog-2160835308225566504.post-29251120105992964962011-09-18T13:56:00.009+01:002011-09-28T10:43:49.504+01:00Suspension and Fall<div style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">I wonder now about the potential energy, or its seemingly so, of the suspension of the sun and moon. The sun and moon precariously in suspense. They are held in place but their situation is one of a constant potential to fall. The stars are light-footed, they can come and go, they can disappear from the sky as a raindrop hits the surface of a pond. A moon that melts from the sun, the moon as vapour. The moon now is light and warm, the stars are sprung, the sun can be held and thrown and can fall. </span></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The emptiness of pitch has a materiality in scent, (even then the substance of no thing weighed on my mind, weighed like the moon) and the space of the darkness is the space for the moon and the stars and the sun, the darkness then was a spatial awareness. If one removes all objects one is left with darkness, a darkness that has quality. I would like to watch the stars come out one by one. </span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Darkness becomes composed, the stars are autonomous. When there is no sun and no moon and no stars there is a potential for everything. The universe is smaller than the mind and smaller than the sound of the planets orbiting the sun. I would like to hear the stars as they disappear. The physicality of the sound of the stars. I would like to touch the sun. Within my potential I can lift the sun, I can remove the object of the sun. I can comprehend without moon and stars. I cannot see without the sun, that scent of the darkness. The moon is reflected in the stars, the stars the sun, the sun the moon.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHC30YkY8P7FPtVL3mDuhzfz1F9nO3DErwd7TSmaoWNEQ3cCAbY9jiuIvIUZJVpM_fnYN-Arf9EzpSHs_mCBT-u7FMRHMB2gF2i2UDpMA7d5BKdGPx8g2xfUjUfwq2TnSsxunBRM1768uL/s1600/OFS+5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="435" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHC30YkY8P7FPtVL3mDuhzfz1F9nO3DErwd7TSmaoWNEQ3cCAbY9jiuIvIUZJVpM_fnYN-Arf9EzpSHs_mCBT-u7FMRHMB2gF2i2UDpMA7d5BKdGPx8g2xfUjUfwq2TnSsxunBRM1768uL/s640/OFS+5.jpg" width="640" /></a></div></div>bookshttp://www.blogger.com/profile/06343293137996675942noreply@blogger.comtag:blogger.com,1999:blog-2160835308225566504.post-55349496540636087412011-09-18T13:38:00.001+01:002011-09-28T09:12:01.253+01:00Image/Material<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.3pt 56.65pt 85.0pt 113.35pt 141.7pt 170.05pt 198.4pt 226.75pt 255.1pt 283.45pt 311.8pt 340.15pt; text-align: justify; text-autospace: none;"><div style="text-align: justify;"><span lang="EN-US" style="line-height: 115%;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">As a response to a building as a structure, the reconstruction as a constant play between material and placement, the workmen become actors in a theatre of form, their constancy resulting in the gradual absence of material, the clearing of form, to leave a shell, a polished, strong, held space, which contains all and yet presents only the essential aspects of a space. Their final achievement is to remove from the space the dimension of time, hinted at only by a few remaining original features, window frames and brick work, like a history bursting from a seam, a hidden trajectory concealed within the walls. One sees in these walls a perceived material solidity in the past and fickleness in the present, and one wonders what economic growth implies, in the long term, of viability, of durability, of material and economy. Is this homogenising of the past a confirmation of the sterilisation of the present? Despite, or in spite of, such lamenting, the building material, the fabric of this façade; the store of laminate flooring , the stack of MDF board, a set of nesting plastic buckets, a blue tarpaulin over a web of scaffolding and the light from a variety of strip bulbs, all work towards creating a constantly shifting situation of which one is relentlessly intrigued. The formation of this facile architecture, this reflection of a facile society, a facile achievement, is based on a wealth of visual idiosyncrasies, of fleeting opportunities, reflections, echoes and accidental compositions. </span></span></div></div><div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.3pt 56.65pt 85.0pt 113.35pt 141.7pt 170.05pt 198.4pt 226.75pt 255.1pt 283.45pt 311.8pt 340.15pt; text-align: justify; text-autospace: none;"><span lang="EN-US" style="line-height: 115%;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH4smRbgsKjg2TUPr80RBdV3p4rQXb46nZP4LkniCl4N3o3YfBv5Z96sXpyPbHhOFnWViznxxv_UhlQ3ebMbRD8UUqaiCtVi-etTKtt3gpjTLn-HobWfhq5V662QQPGV2zgRXezvRQUR8i/s1600/P7272760.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH4smRbgsKjg2TUPr80RBdV3p4rQXb46nZP4LkniCl4N3o3YfBv5Z96sXpyPbHhOFnWViznxxv_UhlQ3ebMbRD8UUqaiCtVi-etTKtt3gpjTLn-HobWfhq5V662QQPGV2zgRXezvRQUR8i/s640/P7272760.jpg" width="640" /></a></div><div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.3pt 56.65pt 85.0pt 113.35pt 141.7pt 170.05pt 198.4pt 226.75pt 255.1pt 283.45pt 311.8pt 340.15pt; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br />
</span></div><div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.3pt 56.65pt 85.0pt 113.35pt 141.7pt 170.05pt 198.4pt 226.75pt 255.1pt 283.45pt 311.8pt 340.15pt; text-align: justify; text-autospace: none;"><div style="text-align: justify;"><span lang="EN-US" style="line-height: 115%;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Capturing the very swiftness of these moments has become the basis for the work, the articulation of each space is futile whilst they constantly shift, the articulation of this failure to comprehend the properties of the space has become subject. The cameras ability to capture, literally, the swiftness of things, is supported by the papers ability to create a relation between image and material, the compartmentalisation yet perceived homogenisation is responded to with variants of a similar form; collage, pages, booklets, photocopies, a series of drawings and a series of texts.<o:p></o:p></span></span></div></div><div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.3pt 56.65pt 85.0pt 113.35pt 141.7pt 170.05pt 198.4pt 226.75pt 255.1pt 283.45pt 311.8pt 340.15pt; text-align: justify; text-autospace: none;"><div style="text-align: justify;"><span lang="EN-US" style="line-height: 115%;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The attempt to articulate this space has become an articulation of the impossibility of such an articulation, the approaching of a situation in constant flux defies, or confounds sense, and what method one uses to broach the difficulty of the situation becomes the articulation of the situation itself. In presenting a multi-faceted work that runs parallel to itself one is highlighting the ill placed dichotomy between stability and flux, and draws attention to the gaps inherent to phenomena.</span><o:p></o:p></span></div></div>bookshttp://www.blogger.com/profile/06343293137996675942noreply@blogger.comtag:blogger.com,1999:blog-2160835308225566504.post-51774392341953171422011-08-28T10:31:00.001+01:002011-09-29T10:54:44.744+01:00Actual Space<div style="text-align: justify;"><span style="font-family: Courier New;">But what of its reception, the real aspect of a work, How does one find this book (these books) and what distinction does one make to an art object, an object, a text as material, a space, a developing space, an institutional space, a governmental space, a cognitive space and/or an empty space? And how does one relate these spaces to the actual space, the space of the Fire Station and the space of a strategy of working, as equally valid spaces, one may find these books within the vicinity of the Fire Station, and yet all that is contained therein is closed to the public, so the possibility of knowing is obscured. There is perhaps more opportunity of knowing the internal workings of a work than its source, and that in turn is the work, is the subject/object, over site. The space of the work becomes contested. The Fire Station, the book, the cognition, each the same object</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiwCycw91Knh00Sr_TYq-qR1msHL5PmU9SXqjmRg1iBKx-7IwkIjycQfd0yljF2JdjMt_LSS_HplWU0-lCGfpOUVIglj0TCWaXkfY3Dpp8GGQi_B_FmngU_ZdAX7wJP6bEESmnIQxEgozT/s1600/1505l101__ground_floor_plan_g.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiwCycw91Knh00Sr_TYq-qR1msHL5PmU9SXqjmRg1iBKx-7IwkIjycQfd0yljF2JdjMt_LSS_HplWU0-lCGfpOUVIglj0TCWaXkfY3Dpp8GGQi_B_FmngU_ZdAX7wJP6bEESmnIQxEgozT/s640/1505l101__ground_floor_plan_g.jpg" width="640" /></a> </div><br />
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</div>bookshttp://www.blogger.com/profile/06343293137996675942noreply@blogger.comtag:blogger.com,1999:blog-2160835308225566504.post-11410326258011103662011-08-28T10:29:00.003+01:002011-09-29T10:56:09.310+01:00A Still Life<div style="text-align: justify;"><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: Courier New;">And so what comes out of the work in progress as a work, this present moment, is the insistence of reception, perspective and how these relate to the hose-pipe stairwell; the reception of a work on the stairs, and the perspective of looking up and down in order to sustain that look, and the perspective of the tower itself, raising up and forcing ones glance that way, the stairs at this point force one down. At this point, the top of the stairs, one finds their perspective is at three places at once; up, straight ahead and down, the look of this space will be sustained, or more so than the stairwell, what is here will have to be received differently to the passing moments on the stairs. As one passes a stranger on the stairs, one feels for a moment cramped. How does one treat the stairs? As stage, as exhibition/installation space, as nullified space? If stage then the works becomes a protagonist, the installation relational, a nullified space for a museum piece (the redevelopment already historic in its absence). Where does one take the present from this point, remaining critically in it, insatiably in it, in it and in reflection of it. One remains with the material, with each fragment of text, to develop each, a work in itself, or to combine them and make them relational (as a still life).</span></div><span style="font-family: Courier New;"></span><div class="separator" style="clear: both; text-align: center;"><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnGqL7aqRRWcJIg3RFQs_3ShhZIYLE3XVc87jYBXZCsqVy4dBVJdcq9rFKPxCnWtZFVQXF_TcG1nwn5oo3FchqDMKF0Bwbcjo6zq9jHmrp9auM4_MBkWTb1Yc0Jh846r-QhE9JdivKk_EI/s1600/book+3+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnGqL7aqRRWcJIg3RFQs_3ShhZIYLE3XVc87jYBXZCsqVy4dBVJdcq9rFKPxCnWtZFVQXF_TcG1nwn5oo3FchqDMKF0Bwbcjo6zq9jHmrp9auM4_MBkWTb1Yc0Jh846r-QhE9JdivKk_EI/s640/book+3+2.jpg" width="640" /></a> </div></div>bookshttp://www.blogger.com/profile/06343293137996675942noreply@blogger.comtag:blogger.com,1999:blog-2160835308225566504.post-45539824633739399782011-08-28T10:27:00.004+01:002011-09-29T10:57:56.282+01:00A Fleeting Reception<div style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: "Courier New", Courier, monospace;">The attention now is drawn to the staircase that leads up the hose tower, a space that will be the site for an exhibition of work relating to the documentation of the redevelopment of the Old Fire Station. Of a stairwell, one thinks of a footfall and of that fleeting moment, one would not spend long to look at a work on the stairs. Its position is reflective of the methodology, a capturing of a fleeting moment, one now has to construct a manner of reception. Three floors with a large expanse of vacant space above, the tower extending above the last step by ten meters or more, the brick of the vacant tower is fortuitously unprepared, a beautiful quality, the brick leading up the stairwell has a coat of white paint, the contrast makes a distinction between the fleeting reception of the stairwell and the tower which demands a sustained look, the vacancy should take precedence.</span></span><br />
</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjftm9LdOCCOihQ5VeeZo5FYLBLvgDRayFIdW5y3fgMQiKD8q5JcV2GP2F0IJenFAtwt09ItqoZ1wS0d66xyJVJpkSgr7_bS88bTFjlZmHk1Wr3eaCalPJhZHFpGEW1LzVyLEx49ko87taq/s1600/book+3+1.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjftm9LdOCCOihQ5VeeZo5FYLBLvgDRayFIdW5y3fgMQiKD8q5JcV2GP2F0IJenFAtwt09ItqoZ1wS0d66xyJVJpkSgr7_bS88bTFjlZmHk1Wr3eaCalPJhZHFpGEW1LzVyLEx49ko87taq/s640/book+3+1.jpg" width="640" /></a></div>bookshttp://www.blogger.com/profile/06343293137996675942noreply@blogger.comtag:blogger.com,1999:blog-2160835308225566504.post-21894510007706761722011-08-28T10:24:00.005+01:002011-09-29T10:58:40.940+01:00Not one over the other<div class="separator" style="clear: both; text-align: justify;"><span lang="EN-US" style="line-height: 115%;"><span class="Apple-style-span" style="font-family: "Courier New", Courier, monospace;">A weighted paper that relates the quality of the ink, the ink a prominent material, an often overlooked material. What one is reading now in this instance comes out of ink. But the paper; newsprint 80gram, absorbent, non-bleached, rough, hand cut to size, printed, cut again, stapled and trimmed, is its ground, the ink the figure. The material is within this, the text fragments as material, the thought as material, always with a secondary reception, the success comes from ones articulation. The substance of this work is within the object, the space, which contains it, with the ink and paper and binding and object as a fabric. A hand-held site-specific space, the context (to weave together) is the totality of the word, the thought, the ink, the paper, the folding, trimming and distribution. Not one over the other.</span></span></div><div class="separator" style="clear: both; text-align: justify;"><br />
</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGweshyG95iw79JeKf32g9EudnIYq4TasKgIIobUGgEKZxhlwvXL7LvoQrfxi1V4ANKM_IIzVckkJTz6XMrGcwR53F4sJoEy-1ErrlaiJTW-QREtFisBIndZoFimw7UXTRNzoKf02mhsJi/s1600/book+3+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGweshyG95iw79JeKf32g9EudnIYq4TasKgIIobUGgEKZxhlwvXL7LvoQrfxi1V4ANKM_IIzVckkJTz6XMrGcwR53F4sJoEy-1ErrlaiJTW-QREtFisBIndZoFimw7UXTRNzoKf02mhsJi/s640/book+3+3.jpg" width="640" /></a></div>bookshttp://www.blogger.com/profile/06343293137996675942noreply@blogger.comtag:blogger.com,1999:blog-2160835308225566504.post-2156324491387421032010-09-28T10:18:00.000+01:002011-09-28T10:18:50.361+01:00Extractions<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipnnym-He5k64cAAn9YApl6gFE9qVzbZJaZmWTSIHvWz55mMYYEfLKHRCH2rrnDdYUSIlnbrMVbAhnekG0CLEXZGlyQr89RCzz_x89PKgYn9evYKb0-DmxMxjIH8HvguWVgraOQitZjmbF/s1600/book+2+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipnnym-He5k64cAAn9YApl6gFE9qVzbZJaZmWTSIHvWz55mMYYEfLKHRCH2rrnDdYUSIlnbrMVbAhnekG0CLEXZGlyQr89RCzz_x89PKgYn9evYKb0-DmxMxjIH8HvguWVgraOQitZjmbF/s640/book+2+1.jpg" width="640" /></a></div>bookshttp://www.blogger.com/profile/06343293137996675942noreply@blogger.com