How they be
Within the same unit
Ants are one body
A single entity
Big as one hundred elephants
Each ant follows a separate path
All is unpredictable
This massive body
Each part moving of its own
One will perish
Thousands will continue
Many of these over rough terrain
Is the elephant
Each part to another
A bowl of porridge
Is the elephant
Each ingredient becomes
More like porridge than a car
Unless crashed into the ocean
into a soup
The machine is a text
reading a machine
it is fluid
what are objects
The text is a machine
manufactured on mass
and over again
in a factory
of human hands and bodies
then in service
now resting here
this is time travel
reaching with my hands
the past here
In this poem (early 1950s) Bertolt Brecht expresses that the technical and functional happenings in the transformation of the staging are to be given to the view of the audience, if they lean back on their seats.
The choice belongs to the viewer in their dynamic action of viewing.
The peace dove by “brother” Pablo Picasso is to be painted onto the curtain (or in the case of the photo below embroidered). This action treats the work of this artist as an open-source visual devise, rather than as the original creation of a genius-art-god.
Art here is a collectively shared method, transparent in its performance and shared between people as members of the same uniting family.
Togetherness rather than exclusivity.
Dance as exploration of mechanism experientially
To move is to feel and to be movement
By dancing am I doing a "useful" thing?
Why must the way I move be "functional"?
Surely to be focused on the "useful" and "functional" is limiting to any notions of (body) mechanics
The useful and the useless are together in the same room
I make a fire to keep warm
all night long
The poetic and fantastic is my preferred method of devising mechanical systems.
A niggling doubt
can be a starting point,
a place to depart from.
Here I become accustomed to the frustration of not knowing.
I dodge working rationally and functionally in favour of
digging in the dirt.
More like archeology than engineering.
A continued exploration of puppetry in design and performance feeds into my sculptural practise, providing a method for playful and experiential experimentation with objects and character.
Performance is intrinsically time-based, character is expressed through often subtle changes of movements through to stillness and back to movement.
Relationships are suggested through variations in the proximity between protagonists, in puppetry these are physically represented imaginary characters.
The physical techniques of puppet performance allow a viewer (and the puppeteer) to be convinced of an object character’s realness to such an extent that we feel an empathy towards them and the situation they are in.
Character and narrative have been devices for the preservation and communication of knowledge and wisdom throughout human history.
The puppet aspect of my creative practise can be found at www.foldedfeather.com
Most extraordinary of devices
What is this?
A solid thing
variation in all
knowledge here applied practically
sensed and felt
apparent complexity conceals fluid abbreviation towards a most simple interface
elegance of integration through many centuries of refinement
pipes open to space
a manufactured lung
a voice box simulation
resonance connecting deeply to a human
each takes makes
beyond the centre
from then becoming
strength in numbers
this is what it is
there is none other
there is no design
only there is becoming
a consistent status of being that and this