I found myself 450 kilometers from Alice Sings wanting/needing to respond to the spirit of the place. My Kings Canyon, Cinemontage was developed inspirationally where the desperation of not having the right equipment led me to working with the wrong equipment and of course the wrong equipment turned out to be right. A traditional response to landscape is destined to failure unless something extraordinary happens. Yves Bonnefoy identified the nature of L’arriere Pays – ‘the back country’ – the place where possibilities are immense because they are unnamable, un-articulable, un-depictable, (except in his case through poetry). The presence of the self and some tools – technicity – the making of meaning by humans though the invention of tools which then change their essential self is what art effectively is. Sensing or sighting something incoming, responding to this sense that there is something when most see nothing, and making a response, is the discharge that art is. Somewhere deep in the Australian bush this happened. The landscape was mosaicsised in my doing in the simple act of taking parts of it – like Hockney’s polaroids and his essential insistence to look again and then recombining them into something new is what artists always have done. In the heat, listening to natures voice within the strange bird calls forcefully told me that I exist within a timeline of invention that harnesses the whiplash of innovation every artist seeks to use.
Kings Canyon, Northern Territory
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