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| Giving
voice to a process-based practice, without marginalising the continuum
and authority of those processes, may involve both chance and restraint.
It is a question of the balance between finding, giving up and creating
what can be known. It is a question of the extent to which things
endure and evidence naturally remains. We are inhabitants of soft
shores, and whilst it may seem necessary to dig to see what is there,
not everything can be held or recovered. When pencils are attached
to my drawing arm and allowed free play to trace the drawing of another
drawing in hand, can the gap between process and artefact, lived experience
and artwork, be narrowed? Or is it the viewer who, invited to wear
a pencil up his sleeve and bending close to examine the drawing, marks
its surface in the process and fills the gap? Can a series of unstable
translations and equivalents hope to connect a songbird and a listener?
A story that moves uncertainly from the colour of listening located
in a jar of urine to a pot of household paint that might match the
beak of a bird. Can it replace the need to record a blackbird’s
song? www.megancalver.com review of 'Slippage' |
University of Plymouth
© 2010