WORK: writing

“[ . . . ] what might make a grown man switch to saying ‘afterward’ after a lifetime of saying ‘afterwards?'”

2012. Ink on paper. 7 x 6 in.

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A Whisper at the Hotel Del Mar. 2012. 553 Hamilton Street, Vancouver, Canada.
Photos by Lexane Rousseau.

Text that I contributed to Whispers Project has been installed as a mural at 553 Hamilton Street, Vancouver, Canada. Whispers Project is a series of typographic murals located around Vancouver, and is coordinated by Eli Horn and Jordan Bent in collaboration with local writers:

Obscured in their isolation the words gain new context from their surroundings and speak for more than a single author. Drawing on the finality of commercial hand-lettering and the immediacy of graffiti, Whispers will develop a language which is driven neither by capital nor dissent, but by the inquisitive exploration of human experience in this urban landscape.

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“[ . . . ] enclosed by a neatly folded golden foil wrapper (similar to that which might contain a segmented chocolate bar). What one finds inside the packaging resemble rows of shower tiles – small white chiclets flecked with green seafoam and bound together in a grid by some sort of greyish mortar. Break a square off at the mortar seam, and you can safely carry it with you. But, snap a tile in half, and it will release sedative fumes.”

2012. Ink on paper. 8.25 x 6.5 in.

Posted in Excerpts, Images from Excerpts: Diagrams, Images from Excerpts: Maps, Images from Excerpts: Pebbles, Images from Excerpts: Procedurally Generated, Titles from Excerpts: Untitled | Tagged , , , , , , , , , , , | Comments Off on

COPY // unfold Launch Event: December 3, 2011

Work from my Excerpts series is included in the second edition of Critical Writing Collective’s COPY, “a publication which explores writing within visual art and performance practice.” There is a launch event happening from 6:30-7:30pm this Saturday, December 3 at S1 Artspace in Sheffield, UK:

COPY // unfold proposes a tension between the resolved and unresolved, drafted and rewritten, finished and unfinished through works which explore, respond to or enact a state of being ‘in process’.

Alain AyersDavid Berridge, Julia Calver, Paul CarrRachel Lois ClaphamEmma CockerLaura DavidsonJoanna LovedayFlatten the MountainDaniel FogartySarah Frydenlund, Derek Horton, Tamarin NorwoodFlora RobertsonTerry SlaterRichard TaylorJohn Winslow,Paul Wright. COPY is designed in collaboration with Dust.

We hope you can join us for the launch of COPY unfold on Sat 3 December.

Following a short introduction to the publication contributors Emma Cocker, Joanna Loveday, Daniel Fogarty, J.D.A Winslow and Paul Wright will present their work through readings, video and print, followed by an informal discussion involving CWC, further contributors and design collective Dust, with the chance to ask any questions.

The launch provides a great opportunity for late viewing of the S1 Members Show 2011 for anyone who hasn’t seen the exhibition and a chance look around the S1 Open Studios (3-7pm). The S1 Christmas event Metallic Merryfest starts at 9pm and we welcome you to join us for the event, we will invite any guests to join us for drinks and food in the interim period. Find the events on Facebook.

For details on the venue please visit the S1 Artspace website and find it on Google Maps.

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“Never the same, and always advancing toward decay: This is to be perpetually new, but not ever again young. The boy will invariably have more behind him, by now, than in front.”

2011. Ink on paper. 6.25 x 4 in.

Posted in Excerpts, Images from Excerpts: Top Edges, Titles from Excerpts: The Boy Changes His Name Again | Tagged , , , , , , , , , , | Comments Off on

“The boy is beginning to understand that new is also older.”

2011. Ink on paper. 4 x 3 in.

Posted in Excerpts, Images from Excerpts: Calculations, Titles from Excerpts: The Boy Changes His Name Again | Tagged , , , , , | Comments Off on

On Excerpts, 2011/07/07 (VerySmallKitchen Project)

The following is reproduced from a project on VerySmallKitchen:

I am very much interested in certain relationships between image and text. This interest is not only concerned with final forms, or products, but also with the processes “drawing” and “writing” through which the results are arrived at. I see parallels between grammatical structure and delineated form, especially within the sort of mental and physical groping exercised when working toward their refinement. The pictorial and verbal connections I attempt to handle in my practice are often nebulous at best, yet apparent enough for me to negotiate conceptually. However, once momentum has died down and all that remains is the final draft – the residue of process – it is the specifics of fiction, with its requisite plot and character(s), which tie together disparate visual and textual elements. Formally disconnected images band into a unified series through a titling system which reads like excerpts from an overarching narrative. At the same time, uncertain illustrational relationships between text and a visually cohesive set of images can be reinforced through the repetitive application of narrative continuity.

Tadeusz & Gregory are most certainly fictional, and possess potential for fluid identity. The idea of Tadeusz & Gregory is an intentionally vague set of relationships which can be played with in a variety of ways. Regardless of what is written about them, Tadeusz & Gregory may or may not be alike Mason and Dixon, Mason & Dixon, Harrison and Wood (but neither Harrison nor Wood), Reeves & Mortimer, Mark and Jeremy, or any of countless other (and not necessarily British) duos. However, Tadeusz & Gregory are definitely self-serious intellectuals whose research, of no fixed academic discipline, is likely insignificant to both their peers and the population at large. Yet the pair carry on while maintaining an impeccable work ethic. In turn, they celebrate their achievements and bemoan their failures.

Tadeusz & Gregory’s pairing as a duo carries with it the expectation of an act or routine. The nature of this enacted relationship is informed by what is committed in writing about the two colleagues, but is also influenced by expectations carried over from popular culture. The implied missing, or extra, identifying narrative information that is inherently present in excerption as a format lends itself to the malleability of the two characters’ association. This facilitates the conceit of the Excerpts series: that the titles are written as though excerpted from a greater completed story. However, there is largely no premeditated continuity in Excerpts. Thus flexibility in both the identity and interactive tendencies of the characters is useful for allowing the introduction or de-emphasis of landmarks and trajectories within the expanding fiction. And because the drawing and writing are so structurally and procedurally interwoven, enabling verbal improvisation encourages similar leeway in the realm of the pictorial.

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2011. Ink on paper. 6 x 6 in.“Left, left, right, left, left, left, and right. The route is the same, but the landmarks have changed. Where have the stairs gone? The pair of archaeologists warned that this might happen. No, they warned that it would happen.”

2011. Ink on paper. 6 x 6 in.

Posted in Excerpts, Images from Excerpts: Maps, Images from Excerpts: Pebbles, Titles from Excerpts: The Winding Cave | Tagged , , , , , , , , | Comments Off on

2011. Ink on paper. 9 x 5.75 in.“He’s already been over it in his head. He’s figured it out. But he’s thinking about it again, compulsively. He’s wasting time. He’s thinking, not doing. And it is becoming less defined the more he reexamines it.”

2011. Ink on paper. 9 x 5.75 in.

Posted in Excerpts, Images from Excerpts: Diagrams, Titles from Excerpts: The Boy Changes His Name Again | Tagged , , , , , , , , , , | Comments Off on

2011. Ink on paper. 9 x 6 in.“He stubbornly continues to explore the room in a systematic fashion. He may be falling to the lower floor a little too frequently, but he expects the tumbles would occur even more often if he were to simply fumble about through the darkness. He won’t entertain the notion that he could be wrong.”

2011. Ink on paper. 9 x 6 in.

Posted in afl11, Excerpts, Images from Excerpts: Maps, Images from Excerpts: Pebbles, Titles from Excerpts: The Winding Cave | Tagged , , , , , , , , | Comments Off on