Speaking in Tongues
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The term Glossolalia or more commonly known as, ‘Speaking in Tongues’ is embraced within the works. I define this work practice as,’ an undertaking of an action that results in the forming of an abstract visual language. My faculty is to understand the material language and henceforth to understand something of the inadequacies of all forms of language. Each person has his or her own language and the works interpretation may be both non-native and native; this is how an individual may respond to an unfamiliar language and whether they are either an outsider or as an insider to the language. Is it plausible that there is a recurrent parallel; an absolute alienation between languages…or is it that one could be a mere stranger to the language?’ My outpouring is akin to the vocalising of a fluent speech-like sound that however appears to be unintelligible.
Notes 1. The entropic nature of the substances and the causation of the event lead to the temporary re-shaping of a form. 2. In applying procedures for an interpretation of Speaking in Tongues I am required to contemplate being in two states. Firstly, to consider the intent of the work through the asking of questions as to why, and what (for example) the work is about…this is normal practice and rudimentary. The explanation is simply part of applying a justification to the act and thereafter to be able to articulate the reasoning behind an action. The written text supports the reasoning and is the testament that both behind the action (‘behind’ as implied here is that thought and reasoning follows an action) whilst it is also evident the act is also premeditated. The second state is of equal importance and possibly requires the greater discipline, the act of not thinking. I am increasingly interested in the application of the still mind in the moment…a process of contemplation or psycho-upsurge. This is simply drawing upon the self to undertake an action in the moment…I am not certain at this point how much I rely on the body’s ability to increase adrenaline. 3. I am caught firstly as to how I describe the actions…are the actions an implicit (if somewhat a mild form) of a violent act? It is perhaps a too stronger word to describe the works ‘coming into being’…that is not to say the premeditation of the act has not started well before the first projectile is pinched off the lump of clay. The act is certainly purposeful and I could suggest it is a work of energy. The premeditated aspects, the placement of the materials and props as well as the act are part of the works condition. The only true moment is not I believe the point in which the first projectile is released but the subsequent ones that follow. In all likelihood the action of the first one is acted out in my mind time and time again. Action + Unknown possibilities = Results (The action undergoes a process of dissipation through a loss of energy...I use the term los of energy here in the sense that the loss of energy is merely temporary...providing the clay is not fired. The energy is to be found in the materials water content). Earthy and Soil like substances - Earthy Bon Bons – PYKE (Pica) medical disorder - Pathology - Contaminated Dirt – or beneficial digestive aid - Clay- as a female food - A miasmatic substance – bad air /bile – stomach contents |
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Taking a palm full of clay in my left hand I stand away from a wall (approximately 10 feet). Fixing my eyes upon a point on the wall I pinch off some clay and mould it into a ball in my right hand. I lift up my right arm with clay in hand and forcibly release the ball of clay towards the wall…’Splat.’ The process continues until sufficient clay has been embedded into the wall. The making of the work continues. Some of the clay forms on the wall are then pulled and pinched into columns, props or supports. Lengths of clay are then rolled out; these thin pole-like connectors are then attached to the clay supports. The work can be made and finished off site, however several semi autonomous choices are presented forthwith:
The work is now open to additional possibilities. Each option extends the vocabulary as to how the work can be interpreted. If the work is undertaken in the gallery (or other place of exhibition) the work has the ability to communicate to others (including the curators) in many different locations and in languages previously not yet explored by the artist.
1. The clay forms are removed whilst still wet. They are dried and fired. They are then reattached on to the wall.
2. The clay forms are left to dry on the wall, henceforth the clay hardens and falls off. The work is left broken and unfired on the floor. The clay marks from the throwing action remain on the wall.
3. The thrown clay is concentrated on to or near to one particular spot on the wall. The clay form is built up until it becomes one huge mass of clay. It is left to fall off in its own time.
4. The work incorporates a live art/performative element where the work is added to during the period of an event /exhibition
5. The work is fired and is presented in a new form (See example Vitrine and possible and cardboard box installations.)
6. The amount of clay thrown/stacked up against the wall at any one time is taken through to absurdity.
The work is now open to additional possibilities. Each option extends the vocabulary as to how the work can be interpreted. If the work is undertaken in the gallery (or other place of exhibition) the work has the ability to communicate to others (including the curators) in many different locations and in languages previously not yet explored by the artist.
1. The clay forms are removed whilst still wet. They are dried and fired. They are then reattached on to the wall.
2. The clay forms are left to dry on the wall, henceforth the clay hardens and falls off. The work is left broken and unfired on the floor. The clay marks from the throwing action remain on the wall.
3. The thrown clay is concentrated on to or near to one particular spot on the wall. The clay form is built up until it becomes one huge mass of clay. It is left to fall off in its own time.
4. The work incorporates a live art/performative element where the work is added to during the period of an event /exhibition
5. The work is fired and is presented in a new form (See example Vitrine and possible and cardboard box installations.)
6. The amount of clay thrown/stacked up against the wall at any one time is taken through to absurdity.
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Beacon
Bimonthlies 4 An entertaining evening of artist presentations and performance. Friday 18 March 7-10pm 2011 Reading Room & Chapel High Street Wellingore Lincoln LN5 0HW Guest Artists Simon Withers Nottingham based artist Michael Sanders Lincolnshire based artist Winner of OPEM Edward Crumpton Devonshire based artist I would like to thank Beacon for inviting me to take part in Bimonthlies 4. For further information please see beacon art project (see link below) 
The Wheel Turns 10th January - 25th February 2011 Richard Attenborough Centre, Leicester. The Wheel turns- a celebration of contemporary developments in collage and assemblage. The exhibition features the work of 34 artists. For this show I exhibited two works - Document 1 & Document 2 (Speaking in Tongues) |
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   Anthropological Study#1 (2010)  Anthropological Study#3 (2010) |
  Shelf Work (2009)  Anthropological Study#2 (2010)  Anthropological Study#4 (2010) |
