90 gsm paper, carbon paper, charcoal, pva, water, grandfathers cheese slicer from his shop, metal clips, stanley knife, sand blasted limestone, tripod, iphone, table

intent: hand print images then sand blast them

 

in my attempt to lose my own thread, get lost in the maze, i cant quite remember where this all began. I know that ive made some sculptures, some drawings, some drawn on sculptures, some sculptures that are drawn with air and sand, some drawings lifted from sculpture then fed back in to sculpture. here i seem to be building a sculpture made from drawings of sculpture that i intend to sculpt with sand. The sand and compressed air, or sand and wind, is an accelerated erosion. Destroy to reveal. Obliterate to read. So what?

pressing the wet, gluey paper together it felt fleshy meanwhile my dad is dying in a hospice, desiccating, oxidising. When i touch him there is only skin and bone. As i built this object it became about me and him. The last few drawings were slight and gestural. the last two were blank. skin. trace. no trace.

addressing materiality – list

above tools and equipment

plus

sensual nature of materials including

sound

texture

sight

other

other?

do i believe in the materiality of art making?

do I even consider the material?

what is the material?

Its a medium.

a sound

a sight

a texture

thus a sensuality

thus a way between.

a between.

between what

the real and the known?

the reality and the knowable?

the me and the other?

the unity and the duality?

the transcendence and the immanence?

(palpating the unknowable (Deleuze), layers of catholic ‘magic’ (Campagna, 2018) unknowable imagery with protestant ‘technic’ knowable word)

the slicing and separation

the refamiliarising and appliance

the gluing and layering

the conversation…