barren day 19
Scores and Inventories
Three scores or more
Two lemon sole and One Flapping sole
One pallet for mammon
Nine dancers drumming presentations into One head
One can perhaps see that this beginning of an inventory mimics Perec (1997) but is also consequential to a conference day where various presentations have left rather a void like space in my mind. Primo Levi was not an immediate commentator on experiences but left them for distillation before recounting, retelling and shaping.
Three large cups of coffee
One banana
A pot of melon with grapes
Several remnant of packaging with phosphorescing agents
There are many aspects to this blog that remain to be distilled and developed more rigorously but I am compelled to recount additional sets of thought that have been filtering through. The first set is upon the wall drawing created by using the architectural imagery Dave and I collected, I have referred to it in an earlier entry but something has occurred. It is perhaps not a drawing but mor a drawn sculpture. The use of shape and outline, abstracted architectural elements are composed to bring body and shape rather than just linear clarity. Tremlett (Drathen; 2004) moved from place to place leaving daubed wall drawings of abstract elements of spaces and these now appear to have a strong link to this direction. Briefly I had through that these could be transferred to something more portable …more framed but these exhibitions have been undoing the frame and therefore feel I must relinquish it for this aspect. Rather the development has unwittingly occurred in the carving of Icarus in a skirting board. Again drawings into an existing space and therefore walls and portable pieces of architecture have taken the stage in my drawing practice. The chair equally echoes this therefore I am bound to admit that while Tremlett was nomadic and moved from place to place marking those spaces; I am bound to removing and abstracting elements from existing place and moving them elsewhere before drawing upon them. This seems a satisfactory resolution to work with for the time being and one I will take with me to the Yorkshire Sculpture Park in August.
One packet of cashew nuts rather stale
One set of presentation on the patronizing nature of some socially engaged art
One niggling idea on scoring as inscription to surface and notation
One USB house to possibility
During the course of the presentation one spent some time on deliberating the possibilities and restrictions of traditional notation on electrical score music in terms of interpretation. This quickly moved into an analysis of graphic scores those wonderful pieces championed by Cage and others into the experimental field of inverting and dis-coordinating staves, using shape and graphics to elaborate on the score for the musicians interpretation rather than the didactic nature of the composer. The composition became a discussion and open rather than closed and fixed. I have previously drawn a range of images attempting to graphically score the body and it is with this in mind I recalled my skirting of inscriptions of the body, scribing its presence rather than its motion, arresting its time rather than its shape. The issues was raised over how the graphic score worked as art rather than score and refreshed my point of view that the scoring of the body beyond notation should not be abandoned just yet. Preoccupations with abstracting architecture were and have been a notating of the body intrinsically working with the classical notion of the body and architecture. In Mesopotamia the foot was used to measure space and the significance of architecture and the body has taken a trajectory that now has us examining clothing as architectural in reference to the body and has architecture behaving like the body as Borden would address architecture as only a way of looking at space’ (2001) and has argued the case for an architectural history based further on conception, a set of flows, reproduction and experiences.
Four feet of lead
One head width of skirting board
Three head widths of flow glass etched
Twelve feet of wood frame
One arms length of plinth…
