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‘I thought I’d try to find my way to the top of that hill –‘ 21
"The fates of ships and of thoughts are very similar: confident, they sail on uncharted grounds, seeking to arrive at their destinations by the straightest possible line. Yet once at sea, set on their voyage, strange things beset them… Few are the ships and thoughts that, having ventured forth on unknown and sometimes even well-known waters, emerge intact from the perilous experience… Yet these random thoughts, these forgotten shipwrecks, are full of secret treasures and untold mysteries, and here is to be found a plenitude like no other: a new life that, however still, abruptly transforms what it comes in contact with, charging the present with the unavoidable weight of things past."
The Artificial Kingdom.
Minneapolis: University of Minnesota Press, 1998: 7.
THE DEPARTURE, THE JOURNEY, THE EXCURSION, THE ARRIVAL
Now, about that other story - entry…
Let us suppose that the work presenting itself in a gallery, is not a resolution of objects or ideas, but rather an interim, an intermediary material through which new utterances can be articulated; a site of NAVIGATION. Instead of illustrating the end result of anything, the WORK would represent nothing more than a salient point in a shifting cartography; a loosened landmark that periodically finds itself situated upon new ground, sometimes foreign, sometimes familiar (Bourriaud 13, 18, and 51). As the work circulates form place-to-place revealing itself between moments of latency, we may find ourselves working to establish a trajectory in both position and of thought. A plan to guide the exploration of such bearing may lie in illustrating the structure-defining intention of a map, a document to lead the reader, the viewer, to the edge and back again. Then again, the potency of the EXPERIENCE may reveal itself more appropriately through not a direct or explicit path, but rather THROUGH a direction one just happens upon by way of moving toward a destination in mind. In either case, the primary concern of an author composing the nature of traversing circumstances would become a concentrated matter in staging the moving moment, of prompting the reader to navigate open waters; allowing ample space for the reader to complete the journey, the STORY, on his or her own terms, whatever they may happen to be.
If I were to illustrate a map, point out a direction, or explain my position, I hope you would understand clearly what I write down here…
“I was thinking about falling (down) into the habit of my studio practice; what it is I do or seem to do, the systems I employ, my process and reported methodology. But alongside this, I was thinking about the gallery as a point of entry for the viewer to navigate by way of his or her own compass; the act of arriving upon the placed work and the progression of thought as one works his or her own way through an aesthetic experience or discovery. My path, my story, may not be to your own.”
I’m sure it’s got, oh! such beautiful things in it! 22