Bleak House

The isolation of the April lockdown led me inwards to my own Overlook Hotel. Thanks to Brad Feuerhelm and Void Publishers in Greece, this travelogue of sorts is memorialised in the Bleak House project -- now available as a free download. Printed version available later. Download here

A New Book of Patience Games

'A New Book of Patience Games' from 'Notebooks'. September 2020. C-types on paper. 225 x 260 mm.

... notebook /Pessoa

Small prints on paper, approx 10 x 12 ins. *text snippet from Pessoa, 'A Voyage I Never Made (1), A Disquiet Anthology'.

Girl with cross and flowers.

New Work. Film. September, 2020.

Terrible things happen. We don't know why.

New Work. (Print from film, hair.) September, 2020.

I neglected the light. He drank.

La Sapienza. Typing and oil paints on post card. 4 x 5.5 inches

LOVE and DEATH / like a field of flowers.

Stella  (Typing and oil paints on postcard. 5.25 x 3.5 inches)

My delicate feelings / something to wear.

Hanagatami  (typing, oil paint on postcard. 3.5 x 5.5 inches)

Mother/ formed of gloom and stillness.

from Lisova Pisnya  Gelatin silver print with oil paints, text on reverse. approx 8 x 8 inches.

your body / A kind of swan song

No End   Postcard, text, oil paint. 5.5 x 3.5 inches

your long-term memory lodged in her ponytail

 Slacker (photograph. text. oil paint. 3.5 x 3.5 inches)

her entire body. full of rocks and a prison.

Eros + Massacre.  Gelatin silver print. Text, oil paint. 7 x 9.5 inches

It's like my life writes itself. half-heartedly.

The Little Tailor. Photograph with text, oil paint. Approx 8.5 x 11.25 inches

What lovely lips you have. All that iron and humidity

Gelatin silver print. Text and oil paint on reverse. 7 x 8 ins.

Please forgive The shapes of the clouds.

Machine-authored poetry from '24 Eyes'. 8.5 x 11.25 inches

Tiefland

'Tiefland' (photograph with typed dialogue and oil paint on reverse) * text from 'Tiefland' (Leni Riefenstahl, 1954.) 6.5 x 8.5 inches

La Voie lactée

Another experiment with hand-typed 'machine authored' poetry. Lines selected algorithmically from Bunuel's 'La Voie lactée' (1969). Approx 7.5 x 7.5 inches.

Please Return

Please Return  (3 x 4.5 inches. Unique C-type print in paper envelope) May 2020

'Wer Nicht Denken Will Fliegt Raus'

Sincere thanks to Der Greif Magazine and particularly Diana Poole for including 'Prussian Blue' in this 'Guest Room' exhibition.

The subject unmakes himself ...

“Text means Tissue; but whereas hitherto we have always taken this tissue as a product, a ready-made veil, behind which lies, more or less hidden, meaning (truth), we are now emphasizing, in the tissue, the generative idea that the text is made, is worked out in a perpetual interweaving; lost in this tissue—this texture—the subject unmakes himself, like a spider dissolving in the constructive secretions of its web.” —The Pleasure of the Text, Roland Barthes

Bleak House

I am so privileged and happy to be part of 'Bleak House' -- a series of magazines and downloadable pdfs -- curated by Brad Feuerhelm and to be published by VOID publishers in Athens. To be working with the best, alongside the best ... it's all one can ask for.

Covid project. Notes

This project started as about wildflowers ... became about particle physics ... realised now they are simply different diagrams for the same feeling.

my boy in his mother's hair

new work from Hair in the Projector

that day my whole world was in the sea

35mm. Glass. Hair.  (Baby floating in mother floating) Something from new project ...

hair in the projector

In this time of lockdown I'm thinking about this theory about Ozu's characters. Indoors, they define each other while it is only when outdoors, contrasted against vast mountains and skies, they see their true (insignificant) place in the cosmos ...  More about this here

her hair where the moon used to be

New Work (with Brad Feuerhelm and Void publishers, Athens) ... 'And one is left with a feeling of sadness, too. It is not because Ozu's films are honest about life, and about death as well; it is because these people, these moments are gone. ... this universal feeling of the transience, of the mutability and beauty of all life ...' NYT 26.09.82.

late spring, early summer

New work. ... our lives steeped in a sort of universal but unnameable emptiness; feelings so complex that it’s often only in the visual, the 'pillow shots' of objects, landscapes, and nature, that we understand them. A vase, cherry blossoms, the wind, the waves ... The material beauty of nature always reminding us of the quick death of beautiful flowers or, as Deleuze calls it, the ‘natural forgetting’ of life. The presence of a murderous virus floating through the cherry blossoms (and my own longings and regrets in the face of it) has also informed this series.

Late Spring, Early Summer

New work begins here.  3300 slides. 3300 lines of dialogue.

His love It's a pretty brooch

Veronika Voss (typed text on book cover with mixed media) 7 x 10 inches

fathered by someone. We lost ...

Beanpole  (typed text with mixed media on reverse of print/X-Ray manual) 7 x 9.5 inches

Black magicians, drowned ones, Crippled on their way ...

Shadows of Forgotten Ancestors (Typed text, mixed media.) 7.25 x 9.5 inches

if my love is not near me, Nothing is.

An Inn at Osaka  (7.25 x 9.5 inches) Typed text and mixed media on reverse of 2 small prints.

Wuhan. is a sense of the cosmos.

Wuhan. is a sense of the cosmos.  11 x 13 inches. Typed text on mixed media.  March, 2020.

holy contour

11.03.2020. Emma's holy contour

left behind

Print from strip of negatives a friend left behind.

pentimento

from 'Keeper of the Hearth: Picturing Roland Barthes' Unseen Photograph' Schilt Publishing. This book marks the 40th anniversary of Roland Barthes’ renowned work Camera Lucida (La Chambre Claire) in 2020. Artist Odette England invited more than 200 photography-based artists, writers, critics, curators, and historians from around the world to contribute an image or text that reflects on Barthes’ unpublished snapshot of his mother at age five.

eavesdrop

I have revisited, retitled and reprinted this photograph so many times. My feelings about the day it memorialises are so all-consuming ... I can't be at all objective about it as a photograph. I'd just like to go back in time and hug that boy again.

Before and Through

test print. final size undecided.

beauty, where are you going to?

Tristana, approx 6 x 9 inches.

* asunder

35mm, tape, typewriter ink.

random composition

single strand of hair, insects ...

Hold on to my dress

Hold on to my dress. / and inexplicable breath.