Colour & Music Links

Correspondences 15(ii)

One of My favourite sounds at the moment is rain pouring relentlessly outside, some of it dripping into buckets, placed perfectly in a my decaying leaking mouldy studio. Messiaen’s Birdsong, plucked from my Pram of Vinyl ( an old and well used Silvercross pram) and played beautifully by Peter Hill (with whom I once performed). Music, Sound and nature working harmoniously together. I love these moments when all senses intermingle and work seamlessly.

Over the past few posts I have enclosed some stills from a film I am still working on.  Much of the film is set in the woodland of which surround the studio where I worked until very recently, with a soundtrack which will include the cross sensory music of Mira Calix which I am listening to at the time of writing.  The organic sounds of the music is reminding me of  a few precious hours last year watching the mesmerising  “Water Light, Water Needle” (also set in woodland) whilst waiting to meet  Carolee Schneeman for Lunch, prior to an opening of an exhibition of her solo London exhibition at Hales Gallery. It’s the first time we had met and also that I had seen a solo show of her work, and lovely to see how fresh, organic, revolutionary and revelatory it still feels, though a lot created nearly 50 years ago, and for many years neglected. So much of Schneemann’s work, as do many other artists,  feel a real connection with. It all feels so refreshingly engaging, yet speaks to us all about expressing through our own body’s and taking the image all the more closer to a bodily and whole fundamental cross sensory experience. The work seems timeless though created via performance and instances. In short it feels rare and special, going beyond the image and towards something liminal and on the threshold. When watching Water Light…. I thought a lot about the fruitful collaboration with the groundbreaking composer James Tenney and I am fascinated how music fed into Schneemann’s  physical/ visual work speaking so strongly today.

Whilst on the subject of Schneemann and Time, there is a forthcoming exciting festival “Sequences Festival” starting in April and is featuring her work amongst other time based video work by Jordan BasemanEd Atkins and others. A few evenings ago I went to see a warm intimate talk with Jem Finer, whose work on time continues to fascinate. His work eloquently examines the passing of time via the use of sound, mechanisms and films.

Last year I also met with the writer Erin Soros (whose short story was nominated for a Costa Award) and I continue a long distance collaboration. Her writing is incredibly cross sensory and is also about a different woodland and the passing of time in Canada and beautifully descriptive visceral writing about logging in Canada.  I am at present furthering this work with Erin on films and interventions, a meditation on time, nature, improvisation and the feeling of displacement across continents and she has written passages that respond in part to my performance abstractions to music by the Australian Composer and Pianist Andrea Keller overlaid on Perspex.

I notice of late (with pleasure) there has been a renewed interest in Painting performance/and physical work with a great exhibition by Hauser and Wirth called “Right’s of Passage” with work by artists such as Hermann Nitsch and Rudolf Scwarzkogler. A few years ago when I was looking in great depth at the Gutai artists, all I could find was one definitive book (which is fantastic) by Ming Tiapo. Absolutely extraordinary when you think about all the huge glossy monologues on much lesser influential groups and western artists. Thankfully and mercifully though this is being readdressed with shows such as “Splendid Playground” at the Guggenheim, and the absolutely terrific “Danser sa Vie” at the Pompidou which I saw a few years ago and currently there are a few solo shows of great neglected performance painter Kazou Shiragu whose “Challenging Mud” is a great example of process based abstraction. In all this work I find great connection via the crossing of senses to act of a meditative practise. In Shiragu’s case he spent a great deal of his life as a Buddhist Monk. As I mentioned in my previous posting with the Sound work of Ikeda and Marclay and the influence of Cage…it is this work with its reflection on the capturing of time which I draw upon in my own imagery and sounds.

Listning to:

SunnO))) and Ulver -Terrestrials.

Morton Feldman for Phillip Guston.

Tru Thought’s -Robert Louis via Soundcloud.

John Cage 18 Microtonal Raga’s- Amelia Cuni

Reading.

Rite Of Passage: The Early Years of Vienna Actionism.

Andrey Tarkovsky- Sculpting in Time

Helen Frankenthaler “Composing with Colour” (Gagosian NY)

POSTED: 03/2/15 4:39 PM