Final Show: #CrouchHillBanbury

Despite the recent Periscope app update which now allows permanent archive of Broadcasts with chat, I made the decision to allow auto-delete after 24 hours.

The ephemerality and impermanence is an essential component of my work and process, highlighting the concept of dynamic socially created space.

Traces of previous broadcasts are now no longer visible as they were previously

Paradoxically, the events below are heavily documented through Screen-shots from the Broadcasts, created within the 24 hrs before they became unavailable……

it’s really hard to let things go…especially when you need evidence of your process….

 

John Ruskin – Work:

15th July

I read aloud from John Ruskin’s lecture ‘ Work ‘ delivered at the Working Men’s Institute Camberwell in 1865,( which is now the South London Gallery……..?)

to link my location on Crouch Hill in Oxfordshire with Camberwell. This also served as a point for further reflections on work, labour, art and relative positions in contemporary society.

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There were 130 in the Lifestream audience at one point and generally retention was better with people usually sticking it out for a while on each brief Scope.I’m finding the stats interesting to analyse despite not searching for ‘Likes’.

I decided to leave the tent up for the duration of the Show, over the weekend and for the rest of the week until Tuesday evening.

I wrote a note to explain and left it in the tent. I left contact details as well, out of courtesy.

Often, teens camp-out and sometimes just leave the tents.

I didn’t want it to be damaged, removed, offend someone unnecessarily or occupied by another person!

Martin Fiennes – Broughton Castle:

16th July:

Martin’s parents are Lord and Lady Saye and Sele.

William FIENNES (1st Viscount Saye and Sele).The only son of Richard Fiennes, 7th Lord Saye and Sele, he was educated at New College, Oxford, and succeeded to his father’s lordship (barony) in 1613. English politician and promoter of colonization in America. He was a Puritan in religious sympathy and a leader in the House of Lords of the opposition to James I and Charles I.

I invited Martin to Crouch Hill, where he spoke of his visions for the preservation of areas of countryside, whilst accommodating the need for housing into the future. He also talked of  his imaginings of the Puritan and Royalist troops, noisily riding up and down past the foot of the Hill along what is now a busy B road, prior to the siege of Banbury Castle, and the Battle of Edge Hill in 1642.

It brought the past alive for a moment or two, and changed my visions of the present.

He was surprised and amused by the 249 viewers.

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Dozing in my Tent:

17th July

I just started to broadcast  and lay down in a warm tent for a doze…showed the sky to  over a hundred people…Strange, this periscope business…

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33 comments! and a surprising number of viewers.

also found a note when I opened the tent…. it said ‘PLEASE DON’T ‘

I wasn’t sure what they wanted me not to do?
Stay….? Go…?

Some dog-walkers came past and had a chat

Paul Mobbs (@ramblinactivist) :

17th July

I’d invited Paul to talk as he has a deep knowledge of the Quaker Civil War history of the area and an involvement in peace activism in contemporary conflict.

He forms a link from this final work to my initial investigations in Croughton , the Reading Room and RAF Croughton.

In fact, when he arrived he didn’t want to talk about those topics at all but lead a popular walk around the Hill discussing local geology and its implications.

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Edith Eisler, 

18th July

This was the anniversary of Edith’s death in 2011. A  violinist, teacher, noted musician and critic.This is  a recording of her playing Hindemith 

I told the story of how my father became friends with Edith and her family during WWII, following their movement from Vienna to Britain.

Also their subsequent correspondence whilst my father found and located in Japanese POW camp in the Far East, and following his release.

This family correspondence continued, even following my father’s death.

Her kindness has enabled me to pursue this Post-Graduate study.

(Along with a Vice- Chancellors Scholarship from The University of the Arts London).

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iChing and Philip K. Dick

19th July

I am interested in the link between subjective evaluation involved in Divination practice and ritual with the binary code which underlies all things digital.

See this article here in The Guardian

and this J Proteome Sci Comput Biol. 2012; 2012(1): 3. Published online 2012. doi: 10.7243/2050-2273-1-3

I had hoped to use yarrow stalks from the Hill but the season was late and there were few available.

I’d also thought of using Glo-sticks but their popularity at the Public View put paid to that…everyone wore them home..

So I used the cards I’d used in previous broadcasts.

The whole event became ludicrous…more so than other Scopes, as Tia and Purdy, the dogs belonging to my ‘assistant’ were in playful mood.

In the end one of the dogs, Purdy, selected one of the cards…

I read from Philip K Dick, the visionary writer, who cites the iChing in The Man in The High Castle.

His alternative outcome from WWII, and the implications, are  worth re- considering now, I believe. The sun set, the moon was almost full.

In total with Louise’s simultaneous broadcast of the event, there were over 750 viewers..

???!!!!

These were the cards selected.

4 Meng: INEXPERIENCE

Humbleness and sincerity when comprehending will increase knowledge.

9 Hsiao Ch’u GENTLE RESTRAINT, HOLDING BACK

Dense clouds suggest postponing the action till after the rain.

56 Lu: THE WANDERER, THE TRAVELLER

The steadfast and persistent traveller will have good luck.

Make of that, what you will….

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UAL Summer Show: Camberwell College of Arts, Wilson Road, London SE5 8LU

20th July

I went to the Final Crit with my cohort at Camberwell. Saw many of my colleagues and enjoyed seeing the Show.

It was odd walking into an exhibition containing my own work but where I had delegated set-up to colleagues. They had displayed many of the bowls around the building but as these are now empty they had been removed.

The last remaining had been give a plinth, two bowls placed one inside the other with a top light in a dark space. It looked tremendous! Donald Takeshita-Guy had been mainly responsible and is keen on developing his curation skills.

It worked really well

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Later, Clara and I met with the collective of artists to talk about plans for our residency in Norway in 3 weeks time. Very exciting.

Little Venice Studio  with Clara Duran, Keir Williams,  Dave Meckin, Alice Helps, Joe Fairweather-Hole

and then…..NORWAY RESIDENCY and Neptune Developers Camp, Melbu, Nordland

Neptun Introduction

and as Manuel from MAFAD said

” So long and thanks for all the fish”

Its been amazing,  Thanks Jonathan K!

Continue reading Final Show: #CrouchHillBanbury

#CrouchHill Banbury #Public View #Camberwellual

Louise messaged me this photo of the yarrow emerging on the morning on the Public View…

Better late than never…YARROW

Some of the people who had been involved in the events, gathered over the evening at the summit.

Several of us were broadcasting the event via Periscope and others who had been involved but couldn’t be there in person ‘hopped on’…

Some people managed both- to be there at a distance and then join in person…

 

Some of the sharing paraphernalia…

People brought Champagne and flowers

 

 

The Covenant of Salt, ‘Twitter’ chocolates, and Mystic Writing pads were enjoyed by many… even those who claimed no artistic talent!

Games had unexpected winners..or no winners at all depending on the play.

People were Periscoping people Periscoping people Periscoping ………etc

 

Clara Duran was taking photos of the Summer Show in Camberwell at the same time, and watching proceedings on Periscope on Jonathan’s phone ( see later)

I hadn’t realised that they had also announced Clara and my Residency Award in Norway  at the award ceremony.

 

Here are images of some of the group’s work : Clara, Tristan ( our work has some similarities..) Pete ( who I have still never met!), Pascale, Donald, Yvonne and Sharon

SIMULTANEITY:

Some examples of the simultaneous images taken and simultaneous events ( if the clocks on our phones and cameras and image files are to be believed ) in Camberwell and on Crouch Hill.

 

19.41

 

19.46

 

19.53

 

20.14

Below are some screen shots which show the involvement of the Periscope audience when I went to find Clare Carswell, who also took many of the documentation photos – Thanks Clare)

She had been following proceedings on the phone but then drove to the Hill to try to find us.

I had thought of putting up signs but it would have changed the event and the Happenstance element for people who hadn’t had direct invitations

Also it was fun to see people randomly wandering around, getting lost, finding each other, talking to strangers, and eventually finding us at the summit!

 

‘ I’ve never seen so many Lost People!’ – Thanks JimStr

People made it to the top, physically and via our Live streams.

 

Drawing time is Catherine Lette,  who was documenting her visit to the Summer Show Private View in Wilson Road, Camberwell and simultaneous experience of Crouch Hill, Public View and some of my work in the process

The Screen shots below are from my Stream

 

These are from Catherine’s @drawingtime phone and stream

 

These are from Sharon Bertram’s

 

Here’s an example of chat during the stream…Anything from dog snacks to Brexit

Which at least gives it some time-reference.

Importantly, people  visiting the Show did seem to be accessing the Periscope Broadcasts at least via the Twitter feed from the Username on the Chocolates!

[EDIT 21st July:  There were large numbers in the LiveStream Audience by the end of the Show – over 700 for the last broadcast ]

 

Finishing with some amusing screen shot showing middle-ages people whth Glo=Stick necklaces.

I’ll never forget wending our way down the Hill carrying the tent etc, winding through the woodland in the dusk, Glo-necklaces bobbing up and down in the distance…Sadly not on the Broadcast

 

The event went well with some good interaction and a reasonable audience in both ‘locations’, from 30- 159 on the stream…not that I’m counting! ( Ha!)

 

Final Analysis

This is an assimilation of thoughts accumulated and embodied during the last eight months. Hopefully a summary analysis which covers areas I have not necessarily included with each post.

It serves as analysis of the whole rather than each of the parts.

Deleuze and Guattari:

I suppose conventionally it is best to include reflections on the theory after each small part of the process but it seems I don’t work like that… preferring much more an organic unfolding. Although, I admit that my reading or, more specifically my intellectual understanding, of Deleuze and Guattari’s Thousand Plateaus is severely limited I am beginning to see my work in terms of these concepts of becoming , multiplicity, collective assemblages and immanence and maybe this is reflected in my reflective process and documentation of it.

To this end I can only reflect now that this part of the process has reach a surprisingly natural resolution…conveniently at the end of the course… ready for a new continuing beginning.

I have been trying to understand more deeply through praxis, some of the concepts uncovered during the writing of my research paper…and then subsequently during the resulting research process.The reflexivity of this process though well documented has been interesting as an affective experience as well as an intellectual one.

As mentioned previously, although the content of the paper was important to me in providing me with a wider context of analysis for past work and future process, it was the process of writing and paradoxically the “unfinishedness ” and performativity of submitted paper which has had the most significant impact.

This is an attempt to put into some sort of structure some of the thoughts and discoveries which I am now left with. It will be my next task to see more clearly the “nodes of intersection” which lie within to progress in order to move forwards with my process.

 I referred in  the post  The Affect of Philosophical theory in the exploration of non-linear narratives! to my difficulty with a crossover of language – many of the metaphors used by  Deleuze and Guattari  have not, in my case, clarified understanding but confused it. This is strange, as they embrace interdisciplinary thinking  which is something I seem to be drawn to. I am struggling to find my own “language” to enable full embodied clarification of these concepts. I have a superficial  intellectual  understanding but not yet that full and total coherence – there is still something standing in my way. I feel I have to experience  this  phenomenological understanding ( if that’s not a tautological statement..) before I can move on. Maybe that has happened now?
However, I do now recognise that my work operates and to some extent displays these concepts.

Rhizomatic Assemblage

It may be, however that Deleuze’s assemblage – actual agents of self organization of the process of stratification located simultaneously in the  intersection of contents and expression of a given stratum….. at the intersection of other structure into strata

A performative action by an agent  could be seen as an aspect of assemblage i.e. is what it does and how it functions rather than what it means and so could also be seen as  part of a process of simultanaeity occurring within the space or produced/ create by the assemblage.Or maybe I’m taking that idea a little too far…

Derrida

Palimpsest

Although aware of this concept of a partly erased parchment overwritten with fragments of the original still visible and its relationship to Freud’s mystic writing pad and human memory, and from de Quinceys point of view, the brain, I was not aware until writing the Research Paper of its use within archaeological and historical discourse.  Nor  Bailey’s extended discourse referencing time perspectivism, and so historical and historiological phenomena and events. This  has had a huge impact on my process particularly in combination Lefevbre and Massey’s perspectives on space/time.

It was only later ( December) that I began to understand its relevance in literary theory and literature and its use as metaphor for multilayering of texts over time . Also more significantly its relationship to intertextuality, which I hope has been one of the threads I have made  visible in my work, making manifest the distinctiveness of the texts, music action and events I have been re-mediating, but with the contamination of each by the other, then also made visible in the light of contemporary unfolding events.

de  Quincey’s figurative use of the word is also relevant as involuted structure of interwoven, competing and infiltrating texts (or in the case of my work, actions and remediations which formed this involution)

French literary theorist Gennette’s studies of poetics relate the concept of palimpsest to hypertext; a conclusion I reached independently when analyzing my practice  for the Symposium in June. i.e. literature (or possibly other forms in the case of my practice ) of the ‘second degree’ made up of hypertexts, which are derived from other forms by derivation, imitation or reference( re-mediation) 

Derrida describes the palimpsest as representing  a “non-contemporaneity with itself of the living present”: The present that the palimpsest projects,  constructed by the unintended presence of texts from the past and the possibility of the inscription of future texts. Therefore, the palimpsest “evidences the spectrality of any present moment which already contains with it (elements of) ‘past’, ‘present’ and ‘future’, which I have aimed to critique in my work ( and Research Paper).

Derrida’s discourse is possibly also evident in my use of strategies which try to make visible the blurry boundaries between disciplines.This could be perceived as an example of trace resulting from erasure ‘in the drive towards transparency.’

I’m also aware of  Derrida’s concept of Differance,  where writing always includes elements of previous texts and is impure; though without a full understanding of this difficult idea.

In some ways my use of unscripted speech, with a recitation of written text, in some of the work may be seen as  some level of investigation in reference to  Derrida’s discussion around the (lack of) distinction and binary opposition between speech and writing:  speech as  primary and more original versus the secondary representational status of writing. Though I do not pretend to fully understand this. Possibly through praxis I will be to.

In terms of my solitary actions and other remediations, I have aimed for the poetic  (from some of the streamed Broadcast comments  received, I achieved that to some xtent.)

I feel, but can’t yet fully understand intellectually, that the work crosses  boundaries into the poetic, but don’t fully understand the linguistic position of poetry.

Pharmakon

Central to my practice a have been experiences and manifestations of paradox and conflict  which relate to Derrida’s concept  Pharmakon, as both poison and remedy.There is also the idea of the pharmakon of writing as remedy or  poison and its relationship to production of memory or remembrance which I have not investigated at all…..although indeterminacy and ambiguity are also evident in my work.

The vernacular

Through the use of vernacular aesthetic and language  with  loosely directed and unscripted intervention in a site-specific, relational, participative and collaborative process,  I hope I have evidenced what Derrida described as the lack of neutrality of everyday language, cultural traditions and presuppositions.

The work is a combination of lo-fi ( ‘Acorn antiques’, hand-made) aesthetic and low production values, in conjunction with cutting edge,  simultaneously evolving  yet everyday, communications technology .

This is in contrast to the high production values ( but retained accessibility) of the work displayed in the context of the exhibition space for the Summer Show

Un-finishedness, non-linear storytelling and archive

I wrote a rambling post about this in November

I hope my work as loosely directed, contingent unscripted events sits well within this framework which emerged more confidently from the process of writing my research paper. Rather than previous attempts at an intellectual understanding of the duration, presence and absence I started to see a place within multiplicity, strands and benjamin’s Arcade ~Projects-like ‘structure’ .

I hope I have consolidated my role as storyteller and trickster, if as  unreliable narrator within the performative aspects of the work. This is extended by understanding that Benjamin also understood ‘the story’ as afterlife; the story in the memory. My hope is for the story of an event ( or broadcast) on Crouch Hill or otherwise ; to act as ‘ transmission’, forming the embodied documentation, whilst also operating within the context of intertextuality.

Rebecca Schneider states that performance ‘remains differently’ when the considering Derridean archive, in a non‐binary, collaborative, mobile, interanimate, body-to body relationship, which I feel has a relationship to oral history which has echoes in my work.

Performative writing, which I used to a limited extent in my Research Paperoperates as a time-based documenting narrative with links to oral transmission.

I am aware there are similar links between the theatre, performance and language  that exist within the  liminal cultural rituals which have been examined throughout  my process, which I have yet to investigate.

Particularly wrt the practice of Performing the Archive, and area of performance/ Live Art  I am aware of but have not covered directly in this particular project.

I see this body of work, and future projects, as a discontinuous, fragmentary  process

Despite the video documentation pieces of the events working contrary to the conceit of ephemerality of the work, I hope that those also display some of these qualities.

There is an obvious ambiguous and conflicting relationship with archiving the ephemerality of any performative action which has been highlighted in my struggle between these two within my process.

I have also attempted to involve, through performative discourse, discussion on the differences between Proust and Sebold’s approaches to the phenomenology and embodiment of memory and its relationship to space and narrative.

Performativity and ritual

My process since the Research Paper has explored elements of ritual practice around archiving and memorialisation at specific locations, often within a calendrical structure, with a variety of  relationships to audience  and community.

They operate as both public and private and  are both inclusive and exclusive, in terms of location and community. I previously read Turner,  Rothenbuhler and Schechner and their discussions of ritual  function and operation within community,but now feel I need to re-read and analyse these works in terms of relational space and communications, overall performativity.

I interpret the actions/events within my process, not as performance, theatre or ritual  but  as relational, reflexive, directly- experienced relationships: even, paradoxically, when these are mediated through the technology of a mobile-phone live stream broadcast. There are, therefore, similar to those relationships arising from other forms of mediation such as gameplay or sharing across, between and within geographically local and global communities. These relationships often, again paradoxically, then highlight existing personal intimacy  or remoteness.

One of the areas I have not analysed fully yet is the variable relationships with viewer, audience and witness across the range of events and broadcasts  – from ritual to ‘performance’, to participative and collaborative experience – all operating within the context of location,  community or happen -upon passer-by , in both digital and  ‘physical spaces. I had never previously thought of the ‘space’ of  theatre or performance so deeply.  and have been playing with considerations of Brechtian and other aspects of theatre for future work particularly with the implicit reflexivity and reciprocity which `i am now aware of within some genres of theatre.

As a collection, the body of work explores the boundaries and structures of a range of digital local and global communities, communications and networks and uses relational aesthetics and the social space of interaction within performative action as a method.

Final Show Preparation 3: Practical stuff

 

Glass- bowls

The glass -bowls are all washed and sparkling, then wrapped in several layers of bubble-wrap, packing materials and in boxes ready to go. A strange combination of my personal ‘identities ‘ were referenced by using these boxes, I realised …. and I forgot to mention the choice of glass rather than ceramic. Glass is an amorphous solid but exhibits an atomic structure close to that observed in a  supercooled liquid phase. I have chosen to work  with glass before as it is both fixed and mutable – appropriate for documentation of an action because of this temporal quality.

Chocolates

I  popped into town to buy the parcel tape and  went to see how Belflair were getting on with the chocolates.

They were all in the shop and Gillian ( below) was busy wrapping them in the foils!

 

Updates:

Wednesday 29th June: I took the glass parcels to Mail Boxes Etc ,  for Marian and Phil Cullen  to send to Wilson Road by courier.IMG_3732Screen Shot 2016-07-01 at 15.27.37

Thursday 30th June: Got back in time to pick up the chocs, all beautifully wrapped, ready for sending tomorrow morning. Gillian was very excited and pleased with the results. So was I. I  gave her some invitations for Belflair to the Public View on Crouch Hill on the Thursday 14th  and took some to Banbury Print, and Marian and Phil at MBE.

 

 

Friday 1st July: 

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The more things change…..

After choosing not to archive my streams, Periscope now gives the option keep the Scopes for ever!…… I’ve just has a notification when I opened the app.

It’s been coming for some time in different forms, since the demise of Katch…as seen here  using the appropriate #.

But now it’s here automatically …if you want it!

In the meantime here are some of my streams  ..

21st May: I broadcast Louise and I looking through documentation of some of the work I made on Crouch Hill , some 8 years ago. Neighbours and our sons were involved in this work. We shared our memories and I reflected on the work, the space, then and now.

22nd May: I took down the pin-hole cameras and broadcast that process. Brian Little, historian and Elvie the dog, happened to be there at the same time.

29th May: I opened my birthday gifts from Louise on the Hill and shared the experience with the Scopers. There was little Trolling! Just jealous…

31st May : Walt Whitman’s Birthday. I read two Walt Whitman poems, Song of the Universal and To think of Time, from Leaves of Grass. These poems address, `time, Space, ephemerality, rural life and politics with thoughts of simultaneity. It rained very hard and I abandoned the reading because the wet paper disintegrated.

3rd June: Colleague, Jon Shapley, whose work also addresses issues of space, came  up the Hill and we discussed the nature of the space of Crouch Hill. I read from the summaries  key to my Research Paper that  I’d presented for the Research Discussion in February. He used to work in town planning, so I asked him to ‘build’ a new development, as housing is being constructed around the Hill as this project continues. There was some interesting ‘chat’  and lots of interaction as visitors to the summit altered the installation.

 

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and its still continuing now… see Twitter Here and Here 

I also made a Vine : I was reading from Bailey’s thoughts on Time Perspectivism whilst Jon built a village.

5th June: I wasn’t intending to Scope but as we reached the summit, I heard people partying. Some people had had a camp-out. The first I’ve seen this year.. It was an unusually warm day. The space changed again

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13th May: I broadcast Trace see in this post An inadvertent but significant simultaneity

22nd June: I broadcast For the Heart. I  read from classic texts, Hilda Leyel’s  Herbs for the Heart and Gabrielle Hatfield’s Hatfield Herbal on traditional herbal medicine, regarding the medicinal properties of Hawthorn. I’d intended to do this on May Day, but the May blossom was very late to flower and on the Summer Solstice, I hurt my back and couldn’t really walk at all. This day seemed appropriate to talk about traditional medicines to heal the heart. I broadcast it at 3.30pm, as others were holding a memorial for Jo Cox in Westminster and around the world. This time I was an intentional participant in ‘a simultaneity’, Scoped or not. 

26th June: Visited the Car-Boot sale at the Self-Pick Farm situated at the bottom of Crouch Hill., looking for bowls for the Show. I had several interesting conversations whilst Scoping. Particularly pertinent  was a seller from nearby Chipping Norton greeted by a viewer from Morocco, who marvelled at the tech. and said.. “So why do we need the EU then ” .. with all that tech…One of the sellers, Paul from Stargoat  recognised me from my involvement with publicity for the the Old Town party community in Banbury, some years ago. He played his guitar and chatted about music, David Bowie, walking the Wainwright Way and his home in Nethercote just outside Banbury.He also told a story about the role of his home in the exchange of information about nuclear fission to the Russians in 1948…I feel a project coming on….

Final Show Preparation 2

It was important for me to source the materials for the show as locally  as possible with connections to the specific local communities I work with and for them to link with the themes of my work in the project so far so linking  the various  communities here  with Camberwell.

I’ve been searching out bowls for display of the chocolates. I wanted to get most at the Self-Pick Farm at the bottom of Crouch Hill. They have Car- Boot sales there and I thought that was appropriate as the bowls will have a personal provenance. It’s been so wet that I don’t think the Car-Boots were held. Certainly when I got there everyone had gone home. There were some boxes of crockery, though, which apparently are collected from the ‘left-overs’ from the Car -Boots. Here they are full of water as I found them, and then, the ones I bought packed up at home. I also bought some from charity shops within Banbury’s Old Town. I have worked there for many years and, been an active member of the Old Town Association ,a trade organisation which supports and brings together local  independent traders. It also runs community events which I participate in as a community artist. Buying some of the crockery here links the threads of my practice and communities in which they operate.

The printers, Banbury Print and Design, are a small family-run business, also in the Old Town . They have printed the wrappers for the chocolates, 5 designs, 150 each. This  may be too many but I want to make sure that I have sufficient, not only for Camberwell, but also  to distribute locally as a link of the two communities and networks. There is an image of Banbury Print and Design’s premises below- but Nicola was not keen on having her photo included on the Blog! Funnily  enough I picked these up yesterday, Referendum Day 23rd June 2016, and then bumped into the owners on my way back home from the Polling Station. They were just walking down as a family. A coincidence….

Belflair, the chocolatier, is just across the road and up Church Lane. At the end of Church Lane is Ye Olde Reine Deer Inn, which apparently is where in the 15th century, Puritan Oliver Cromwell held court arranging future battles.

The founder & resident chocolatier, of Belflair  learnt his craft at chocolate / patisserie school in Brussels  and Antwerp.

I was concerned about selecting the most appropriate foils for the different designs, again that difficulty with the idea of branding. I’d decided to have one colour of foil for each image, 5 in all. Merv, (see below in the shop)  who also runs the business, showed me a selection and chose the ones she thought worked best. They all looked so good that I didn’t want to change anything!

Each glistening order served as a mount would to a picture, highlighting the images, as you can see. The idea of the ‘exhibition’ of the image was still there. Apparently I’m in good company as Belflair chocolates are used as promotions for several central London hotels. Merv was excited by the images. To her they looked essential English, ( or did she say British?…..)

Merv is from Finland, and the images made her think of British weather ( the umbrella) , family camping holidays ( tent) and the Duke of Edinburgh Award Scheme and also Glastonbury festival as that has just started. All those things coalescing together in just one short conversation. She then told me a story about how camping isn’t popular in Finland and why she thinks this is the case.

The chocolates are being made especially to order in their chocolate atelier in nearby Brackley! They should be ready by the end of next week.

I asked her to recommend a reliable local courier to get them to Peckham. They are just round the corner…

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Selecting Images

Just a short post to explain my reasons for selecting the images above for the chocolate wrappers.

I was going to select just a single image but had several printed, mainly to see which looked best on the tiny wrappers.It is impossible to visualise how powerful, or not, an image will be at this size and how it will be read. Logos are different because of their graphic clarity, but this sort of image was so small on the original wrappers that they were not legible at all. Turning the wrappers round and changing the usual layout made a huge difference., though they are still very small, 33 x 40mm for the images. The wrappers themselves are 40 x 78mm but have to include the ingredients inc: allergens and a link to my periscope stream ( I’ve not put this on the front and it is too long and my stream can be accessed via Twitter anyway.) Once I’d altered the image position I also had space to credit the people whose images I used...none of them were ‘my ‘images, although I did ‘take’ the solar grams…by positioning the cameras, I guess.

I showed the proofs to several people with varying interest in ‘art’ or visual material. I asked them to pick up the images that ‘drew them in’ in order of choice. I’ve done this before when having exhibition postcards printed, but this time there was no common choice. In fact every image was chosen the same number of times as a first choice…. So I decided to have 100 each of all the images. Together they produce a narrative showing the  location, something of my process, the link with geographical space with the Trig point, social space with the tea-pot, and time passing with the solar gram.

I realise that will not necessarily be how they are read,but there are linking  objects  within each….from trig point to tent to teapot etc . This provides and exciting way to exhibit a non- linear fragmented narrative of documentation of an action. Just what I’ve been searching for and generate a conversation which re-animates the original action in a different form.

I really do feel though, that I have to give credit to Felix Gonzales-Torres, as the display of sweets and their consumption is not an original idea.… his work  below) has a more simple and poignant  conceit.felix-gonzalez-torres

Untitled (Portrait of Ross in L.A.) (1991) by Felix Gonzalez-Torres at the Met Breuer. Photo by @julianasteiner