Title (to be specified)

2017.12.01 - 2017.12.09

Documentation of the work title (to be specified) at ST Paul St Gallery between the 1st and the 9th of December 2017.

Title (to be specified) was installed at ST Paul St Gallery between the 1st and the 9th of December 2017.

Plastic drop cloth (blue), 12" speakers, Sony Trinitron CRT monitor with the work Song (Fantasia) of (on Byrd's) Humpback Whale (Miserere Mihi), for Paine, Turnbull, W. Banks, 2016, 8mm B/W film, sound (20 mins loop), DVD player, slide projectors, B/W negative slide sequence, mounted speakers, speaker wire, perspex, sub-woofer, extension cords (black), extension cords (orange), audio cables, carpet (800m2) installed folded/unfolded/upside-down and un-fixed, three-screen video with the work A Round for Rocks and Stones, 2014, appropriated painting trolleys, gravitational wave data, various filters, oscillators, and audio modulation devices, raspberry pii with custom coding, infra-red sensor, optical sensor, paper, sound archive generated during the installation (with Eamon Edmundson-Wells).

Secrets and the unsaid are embedded in the archive. The strategy of installation-archive modulates the fabric of the field by shifting orbits and proximities. Motifs are reproduced again and again in the installation, cut and spliced together to create new situations and narratives. The installation begins to act out the formation of ideas through the images’ re-appropriation, reinvention, and return; challenging the idea of post-production as an after-thought, and generating potential for ideas to be repurposed and recycled. This allows the meeting of multiple types of images across disparate sites to echo and misdirect languages established in these situations. Concurrently, objects and images are scattered across the space, drawing distances between spaces and times—drawing from and reproducing ideas and works from past installations whilst intersecting the present anew.

A form of synchronic research plays an important part in my work, in which I re-turn materials, sitting sometimes for a long time, waiting for a trace to follow. Slowly, as this research gestates and unfolds, a kind of temporary condition can arise where archive becomes image. This idea of research as a tracing or staking out of terrain has led me to a mode of installation practice in which a modular and temporary framework sets up the conditions for things to play out. The question of contiguity in the field is investigated via enfoldment and entanglement in a textural interlocution, where these terms articulate the field and the trace in the production of subjectivities.

Documentation of the opening event (shot by Mark Lever)

In this research, installation borders are considered as porous, interstices liminal and littoral as they oscillate. Installation is the field where these discourses meet, in a swirling of energy and matter the gravitational pull of contiguous elements form waves/waveforms that temporarily suspend the structure, meaning, and veracity of discourse. Images are textual conditions of the field in dynamic flux.

Excerpt of the last sound recording session with Eamon Edmundson Wells 9.12.2017

Links to recordings:

2017_11_28-002
2017_12_09-007
2017_12_1-005
2017_12_1-006

Sound archive developed and recorded over the duration of the installation in collaboration with Eamon Edmundson-Wells, modulated by data recorded and generated by gravitational waves GW150914, LVT151012, GW151226, and GW170104

Data recorded and generated by gravitational waves GW150914, LVT151012, GW151226, and GW170104

04 December 2017

A round for rocks and stones

Special thanks to Eamon Edmundson Wells for the sonic collaboration featured in this work.

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