FUSE#5

FUSE #5
lines, or out on the street putting foot to pavement, heel to toe, there is
a continual repetitious act of separating and joining.
For this residency, I was in many was walking in the space between
two projects. One concerned with landscape being a relational tool for
re-framing ideas and the other was looking at Slow Art making as means
for re-education of imagery. How do I keep these two projects alive in
the context of solo studio practice? I took the projects’ key concepts,
added the associated objects and materials, mixed them together, and
filtered them through the body. What emerged was the conceptual through
lines between the two projects and the present body. Ideas of duration,
repetition and re-framing to re-educate, arguably all present within the act
of walking. Yet where does this situate the drawn outcomes and arranged
objects within this studio investigation? Where is the walk in that?
The drawing, kept in control through simple parameters of
drawing triangles and going from one end of the scroll the other in
the space of two weeks. The improvised hand that draws or arranges
objects is indeed structured in the same way I would approach improvised
dancing; as an “overlap of associations, distractions, statements,
retractions, repetitions… beginnings, energetic states, regrets, assertions,
full stops, hesitations” (Pollitt, 2017, p. 207), as well as, spaces,
dots, marks, textures and plains. Every response is both a means to
generate knowledge and a means to reflect during action and after
action. The solo studio time inevitably always feels slow, laborious and
at times pointless, yet the time left alone with thoughts, objects and
movements gave way to a cyclic process of reflection. Where, for example,
the object placement is a reflection on the dancing, the drawing a
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