Hallsson, Jones, Decker, Julien, Poyner

Hlynur Hallson

Malcolm Jones
Shawn Decker
Lydia Julien
Martin Poyner
… may I submit this brief Tumblr’d collection of new & old work for consideration & as a starting point for conversation…

3 artists

Steven Lowery


Nick Spiers



Robert Reed

“Ceiling – The approach in Art, regarding any technique and its preparation, the psyche and its suitable and apt disposition, while preparing for and during the execution of any artistic act, through an open mind, with fresh thoughts, i.e., actual reflection and inspiration, as if a deliberation in expression of the technique’s capacity, helps in reaching for an ideal, a principle, an epitome.

Maybe some could track a paradigm in these words, a deduction from the major religions of humanity.  There is a shared trail to travel on in order to be free in elucidating and interpreting one’s surroundings; and yes, it then becomes a belief in its own right and has only the faith in itself to move it forward toward a resolution, a promise, a pledge, and/or to an outcome of a solution that never stops resolving.  Some of these considerations are also the qualities that accompany attitude in a religion … as well as other orders and disorders.

First wall – Perception is the realization of something existing, created by man or nature, consisting not only of space, but of space and time. It’s the recognition of the existence of an entity, a body, or an event.

The time needed to observe and record what is being watched, doesn’t seem to confirm an objective visual experience.

Second wall – Visual Stimulus

The meaning of envisioning something is analogous to putting into focus the visual essence of its exterior qualities.

The need to understand and identify or discern are important aspects that make up visual awareness.   Visual discernment is the capacity to assess and isolate all that is within a framed visual context.  We look because we question in order to define before receiving our answer, and what we actually see is what’s important for us within a framed visual context.

Third wall – Time

So far, we have never acquired the capacity to focus on several different objects in the same visual space at the same instance.  But we can do this in ongoing instances and at different intervals.  It’s how we arrange these images and visual stimulations in sequences that distinguish the way we communicate with and define our surroundings.   And this changes from era to era.

Fourth wall – Realization and Production of a Visual Space

The essence of doing consists of gathering information, but under this aspect, pure spontaneity cannot exist. One must be incoherent, oblivious and downright cataleptic in order to be truly spontaneous to his surroundings, but at that point actuality is sacrificed. Understanding your surroundings will render actuality which in turn stimulates participation. This is essential in communicating any message, including visual ones, admitting that a priority is to maintain contact with a following found immediately outside the focal point of something created …  Contact with a potential audience is essential to communicating, because it’s through the audience that a message will find its evaluation and appraisal, or refusal.

Floor –      Each generation of recipients have their direct contact with means and ways (methods) familiar and more easily understood in which to relate…

A true intellect has his feet on the ground…”

Planning a studio visit, thanks to Artists french mottershead @FrenchMotters

french mottershead
—– Mail transféré —–

Objet : Re: Sept-Oct 2013: Propositions for… at news of the world gallery
We’re thinking about making interesting stuff.

Come and visit us at our Studio in November if you like.
Would be delighted to spend some time with you.
Andrew & Rebecca
twitter: @FrenchMotters
skype: frenchmottershead

From conversation with Artist Steve Klee. A proposition. Thanks to the Artist.

Too Prolix: A Tour Out of Time (working title)
I’ve finally got round to it, hope I’m not too late to respond to your intriguing call and submit a proposal for a solo show next year.  The exhibition will explore three interrelated philosophical themes: the time-travelling ‘retroactive’ logic of decision-making; the political actor as necessarily anachronistic, and political action as a ‘performance of equality’. These ideas are, I think, interesting in their own right but also reflect upon and intervene into the discourses surrounding site-specificity and art as re-enactment.
The exhibition would relate to a performance work that will take place on The Historic Dockyard Chatham in June that re-enacts certain ‘picturesque’ labour disputes between the dockyard workers (artificers) and the Admiralty during the 18th century. The script is made from words appropriated verbatim from primary-source archival material, and delivered in the artificial rhetorical acting style of the time. The staging of the performance involves a ‘narrative trick’ whereby the feeling of time-travel is affected.
My proposal for News of The World is twofold: 1. I use the gallery as a space to extend the life of the performance, an iteration of an ‘original’ which is also an iteration… In this instance the show would contain documentation of the event plus a twisty timeline of my own devising. This graphic wall piece would riff on the timeline as curatorial device (perhaps invented by Group Material), but transform its linearity, showing that history is not set-in-stone, one event building incontrovertibly upon another. Rather history is open to radical retroactive transformation, whereby agential action in the present reaches back so as to transform how the past has been. A realistic timeline therefore needs to be able to illustrate these moments of time-travel. The exhibition would also include select props from the performance, and dramatic readings of the script.
2. Or, News of The World is used prior to the Chatham dockyard performance as a rehearsal and workshop space. Here the appropriate acting style for the performance could be hammered out and practiced. (I’ve already made contact with an expert in 18th century theatre and planned a session with actors).  Also the gallery could be used as a studio to devise and produce the timeline piece. In addition I could show faked documentation of the dockyard performance again messing with straightforward notions of causality: displayed evidence of an event that has yet to take place…
I hope this text is enough to piqué your interest; if so I would be very happy to give more information or continue the conversation in another form.


Steve Klee | Lecturer Fine Art & Admissions Officer | School of Music and Fine Art
University of Kent