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over all CONTEXT

REFUGEE CRISIS

SLAVE TRADE /

CULTURAL REPRESENTATION

LABOUR / WORK

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“The photograph is violent… because it fills the sight by force” (Barthes, 1981).

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The sea floor stirs around the world, ruptured by pressure from within and “pulled by the weight of its sinking boundaries.” The ground strains the face of the earth like “geolithic labour pains.” The molten rock doesn’t “shoot out explosively, but oozes in leisurely bulges.” The “pillows of Lava” force their way through the slits, creating a newly born scab (Schatzing, 2017).

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The animal begins to resemble a whole world in its own. Look closer at the image above, look at every colour, this desirable deep violet of bruising, glossy lava of her death. Look at the way the skins of the organs are clasping, clinging on and wrapped around the insides.

This is a whales body turned inside out, the outer layer of skin peeled back revealing the oceans interior. The images made, swallowed our sight like the quicksand lured our feet in, sucking us into this unknown world.

The hidden world of the inside is no longer a sealed oddity.

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We steered the boat around the corners of the creek, the water was flat, in fact I don’t think I have ever seen such a flat body of water, silkier than silk and flatter than flatter. I lent over and ran my hands against the flatness, the water raised either side of my hand leaving a trail of chiseled water. There were two skies that evening, one on the surface of the water and one above, then this thin slither of land we were bobbing along, ploughing curves between the soft banks, through the arteries of the landscape, creating tram lines of water which flowed out the back of the boat. The water that night remains a miraculous shiver of beauty.

A turning study of the home, that folds back on itself as the sea folds back through the waves that hit the shore.

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the hard rest of immovable the whale

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It was embarrassing to photograph a whale’s relics, the smell pushed us away. The line of string pinned up around the body only allowed us to go so close, all we could make out was this unrecognisable shape of pain. As we walked closer the scent forced us to turn our heads, to avoid the pungent aroma of death, as if we were shying away from something. The smell pierced our eyes and ears so it was silent and we were blinded, swarmed by this shiver of smell.

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Emptying out the mind,

impact of labour on the thing thats being laboured

the labour of wheeling the effort and strengths t skill these animals

father / potatoes - farming,

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Whales : equipment to kill, but also equipment to save.

Neighbour : Gravity as the force to kill - as the weapon

The sea (My sister | refugees, slavery : The sea dragging you into an unknown territory, an unstable ground.

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The Hold of a ship - The hold is the slave ship holf of the so called migrant ship; is the prison; is the womb that produces blackness

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How do boats or ships cmoe into my life -

entertainment
to be free -the sea
to swim

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Position of the wake: a position of deep hurt and of deep knowledge

WAKE (the waves that a moving ship or object leaves behind)

WAKE (TO WAKE UP, “THE HOLE OR OPENING IN ICE”

Circulation, currency

Eternal return, the repetition of the movement

The sea is a distance an iIllusion of emptiness, but its completely full

Visualising hidden things

SHIP as a reminder of the ongoing migrant and refugee crisis

Slave ships were floating tombs,

Wrecked and wretched boats keep moving.

the wake is a state of wakefulness

Wake bring a place thats a surface

to now a state of consciousness

FEELING THE WAKE

a boat, even a wrecked and wretched boat still has all possibtilities of moving

THE HISTORY OF THE SEA

Position of the wake: a position of deep hurt and of deep knowledge

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Grazed the surface of the water and sink into the sea

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The surface of the sea arched towards the sky

Driven towards or away by the gaze

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Perfect Darkness surrounds her

The passing of familiar landscapes is accompanied by a loss of familiar perceptions, of the feelings derived from human senses – of sight, and then gravity. The laws of gravity may still apply in the oceans, but a thousand metres below the surface there is no way of telling whether you're rising or falling.

Wake up.

I am awake.

Sure you’re awake and your mind is focused, but you are dreaming the wrong dream.

All mankind is trapped within a waking dream of a world that doesn't exist. We live in an imaginary cosmos of taxonomic tables and norms, incapable of perceiving nature as it really is. Unable to comprehend how everything is interwoven, interlinked and irretrievably connected, we grade it and rank it, and set ourselves at the head. To make sense of things, we need symbols and idols, and we pronounce them real. We invent hierarchies and gradations that distort time and place. We have to see things in order to comprehend them, but in the act of picturing them we fail to understand. Our eyes are wide open, and yet we are blind. Look into the darkness, look at what lies at the heart of the Earth. It's dark.

The darkness is threatening.

Why should it be? It deprives us of the co-ordinates of visible existence, but is that so terrible?Nature exists independent of our eyes, and it's bursting with variety. It's only through the lens of prejudice that it appears impoverished – because we judge it in terms of what we find pleasing. We always see ourselves, even in the flickering of a screen.

Ideas are tumbling through her mind. Her thoughts disperse in all directions through the darkness of the Sea.

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Wrecked and wretched boats keep moving. a boat, even a wrecked and wretched boat still has all possibtilities of moving 

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Wrecked and wretched boats keep moving. a boat, even a wrecked and wretched boat still has all possibtilities of moving 

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- RETHINKING THE PAST

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Maggie Hambling - Golden boat beneath the surface 

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Maggie Hambling - Golden boat beneath the surface 

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Play on

The World as a Stage

MARIE DE BRUGEROLLE

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1.This is my mask of fidelity to truth and life.
2.This is to cover the mask of pain and desire.
3.This is to mask the cover of need for human companionship.
4.This is to mask the cover.
5.This is to cover the mask.
6.This is the need of cover.
7.This is the need of a mask.
8.This is the mask of cover of need.
9.Nothing and no
9.No thing and no mask can cover the lack, alas.
10.Lack after nothing before cover revoked.
11.Lack before cover
paper covers rock
rock breaks mask
alas, alack.
12.Nothing to cover
13.This is the
13.This is the mask to cover my infidelity to truth.
14.
13.This is the mask to cover my infidelity to truth.
(This is my cover.)
14.This is the need for pain that contorts my mask conveying the message of truth and fidelity to life.
15.This is the truth that distorts my need for human companionship.
16.This is the distortion of truth masked by my painful need.
17.This is the mask of my painful need distressed by truth and human companionship.
18.This is my painless mask that fails to touch my face but floats before the surface of my skin my eyes my
teeth my tongue.
19.Desire is my mask.
(Musk of desire)
20.Rescind desire
cover revoked
desire revoked
cover rescinded.
21.PEOPLE DIE OF EXPOSURE.

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Indeed the essence of camp is its love of the unnatural: of artifice and exaggeration…Though I am speaking about a sensibility only – and about a sensibility that, among other things, converts the serious into the frivolous – these are grave matters.

Resexualising the artistic elements is more than returning ‘savagery’ to art or demonstrating for the umpteenth time that the creative impulse draws on sexual roots. It means subverting the good conscience that smoothes the domestic universe, showing that behind the closed door of aseptic homes, reality outdoes fiction. So camp, in its use of exaggerated feminisation and distortion of habits and manners, reveals a part of what can often exist behind the stage – such as the perfect middle-class house as the artificial façade.

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TO CATCH
- Net (fishing, basketball, bag) - to hold something, to catch something, take hold
- line to keep you back from seeing art work to closely
- Ringing of church bells -
- Rope used to tie boats up, stopping them from floating away
- umbilical cord
- tug of war
- as a line to stop you going to close to artworks - to keep distance
- around the whale

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MAKING - MATERIALITY

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"“I am very interested in what is repulsive and what is beautiful, because in our own bodies we are so confused about that, in terms of sexuality and our own mortality. The shark epitomises that, too, in terms of fear and desire and misunderstanding.”

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Tree re growing after it's fallen - the effect on the body after fallen

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Fallen away - Direction, pointing upwards, pointing to the side

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- Gouache drawings  -  Turning Inwards

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Flesh removed and you are left with the bones and fur.

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"The CLif had been much broken by high tides and the rage of the sea, many hundred loads falling down as it often doth upon this coast, the cliffs not being rock but earth

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OWN QORK / FROM SKETCH BOOK

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DIAGRAMING THE EYE

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Behind the image
Beyond the Surface
door opening up behind, offering space to enter into the image, the mind, the belly - the camera
Abstraction of th eground, you can see the tiles but they are obscured

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The excess rope pools in a heap on the floor.

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Entanglement, wrapped up

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the unravelling of a human being / of ropes