York St John University: Curated Commission
My sequence drawings have emerged from observing tectonic qualities of facades, street furniture and pavements – working from floor level to eye level with attuned observation allows the agent to undermine the conventions of the minimalist technique of transparency; the ability to read a minimalist sculpture from any angle because its format is repetitive and similar. Transperency might be operative when an agent walking next to repetitive linear facades is be able to predict without thinking how a building or wall continues, even if the building withdraws from the viewer or is partially obfuscated. This familiar understanding of a building or similar repetitive street furnishing permits the walker to continue with the habitual action of walking without needing to focus on the building as they walk around it. Instead of this habitual action, I am asking the agent to attune to the rhythms of the building and connect these to personal biorhythms – of the heart or the pace of walking itself.
body sequence attuning exercises
I am inviting walkers to increase awareness to their own rhythms, to train or attune their awareness and to draw in patterns of the built environment – not as an external reference but just as an additive rhythm that can coalesce, disrupt or merge with the personal rhythm of the body.
As I feel ocularcentrism would reinforce the Cartesian dualism of the separation of body and ‘mind’ or perception – I am creating tactile engagement tools that feed tactile awareness through the body helping the agent to begin attuning. I am creating raised patterns with an embellished print that the walker can search for whilst ‘viewing’ through touching. I am asking the walker to continue to keep the patterns of the architectural environment on the peripheries but to attempt to attune to them in a heightened somatic way. This will be achieved through movement and listening exercises prior to the walk.
I aim to develop this work through creating architectural objects in a gallery setting that ultimately with training and digital participatory practice will lead to an environment that enables absent choreographic performance, where a facilitator encourages ‘attuning’ to the body and the environment – and through which a performance emerges.