I'm in some strange limbo world. Five soft sculptures wait impatiently. Next week they will leave their overcrowded space and take up temporary residence in Salisbury Arts Centre. I wonder who I will be without our daily confrontation.
Creatives in Con.Text are People in Con.Text; these five, white figures reflect the conversations, echo the history of creative expression from the art of the ice age to the current search for connection and recognition that drives us into an online future. Reaching out, they attempt to make externally visible the longings contained within us.
Kouros and Koure, echoing the classical Greek Kouroi, are also a reminder of how young and unformed our civilisation still is, and how far we have yet to travel to possibly deserve that description.
Jessie, Fons and Kosta are both younger and older, representing the past and the future. Without time and universal, but also unique and personal, they ask questions of a future where diversity appears increasingly problematic. The physical and emotional geography we construct to frame our coexistence in ever decreasing spaces demands ever increasing conformity - a simplification apparently necessary as counterpoint to the complexities of financial structures, political powers and ideologies that threaten to overwhelm us.
They make visible questions of the longings that thread through my arts practice from its beginning and of the emotions that come alive in Con.Text conversations.
I have tasted life and life
has feasted hungrily on me.
And I have embraced the question
so there is no going back,
Somewhere the answer is wheels,
And somewhere the wheels are a game
I play in order to play the game
of life; in order to find the questions;
in order to meet the amazement
that moves me; that brings me
longing, to the feast.
Creatives in Con.Text, the work from which the idea for this exhibition exhibition evolved, is awaiting further conversation with a printer, Sue Austin and Liz Crow are finessing 'Creating the Spectacle!' (film) and 'Bedding Out' respectively; 'People Like You' is coming together.
The five soft-sculpture figures jostle, in my head, for the most effective way to relate to each other and to the architecture on offer. Two of them are pretty much decided.
It is totally instinctive
the small in-breath and holding it.
The body angle, response to
spatial awareness, shoulders just
so and heartbeat nudging increase.
Without eye contact, conscious yet
unconscious; focused on other
for the instant of pushing through.
access demand brief encounter;
fleeting engagement with naked
exposed skin, breaching personal
space, hinting towards Imponderabilia
an artwork that demands your
on a physical level not
accessible to anyone
clothed in a metal framework;
people whose personal space boundaries
have no finer sensation.
Kouros and Koure stand before steps, their own naked fragility holding traces of each passing encounter. They stand wide enough apart to accommodate any wheelchair, yet they stand before steps. Kouros and Koure offer you space to consider access: public, personal, intimate,
And they challenge you to consider the weighty negativity of being continually offered so much more personal space than courtesy, or naked skin, demands.
Distance is key.