Lamentation is a different order of magnitude to Presence. Instead of asking the audience to neither slow down to 400 microseconds, nor inhabit 40 milliseconds of the moment of now – it asks instead the audience to dream a little. Flaxton asked composer Steve Marshall to invoke the dreaming that happens when you drift away from the moment of now by finding a live instrument that could invoke that sensibility. Marshall chose the fujara, which was originally a traditional wooden overtone flute from Slovakia, to find that responsiveness. This feeling can be best descibed by the poet Yves Bonnefoy who described the feeling to be found in ‘L’arriere pays’, (which can loosely be translated as ‘the back country’). By way of invoking the issue he argued that a true museum is a place where not only the muse descends and inspires the artist – but where the audience can also have that experience of the muse too. So Bonnefoy tells us that in the back country, down its narrow lanes where there are traces of the human, but not too many, then the person walking through those lanes might feel a presence over their left shoulder as they walk through that land – and that presence is the presence of the muse. Between the human and the divine the muse awaits us to reignite our experience of art. So though there’s a sense of melancholia to Lamentation, it's also a welcoming of a presence that can intercede for each and every one of us in each and every moment.
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