Limber Lost

I usually type with two thumbs on this screen keyboard, what’s different today is that both thumbs are somewhat disabled, the left one is in a brace due to a joint malfunction and the right was cut and is covered by a plaster that won’t make good magnetic contact with the screen. So I’m trying to sort out the swift flow method, a gesture that is quite accurate, you can almost see the lists fixing the wild, I mean word within the feature, I mean gesture of the moving fine fine finger.

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A regular three hour drive leaves it’s mark on the experience of country and landscape rather like the moving finger marks the word, it adds a pulse . A bit like speaking in a rhythm of words, driving the road is a grouping of experiences, never quite sure what’s in real time and what’s associated from elsewhere. It leaves me feeling the loss of the rear view mirror long after the drive.

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The grouping and organisation of thought and image follows lines similar to those behaviours linking people. For instance I notice, being in the socially silent environment of the bush four days a week, how I lack an aspect of associative flow that comes from being in a group of people where tiny forms of mimicry, little redundant mirrorings produce moments of welcome relief from self conscious reflection.

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I’m reminded of a work by Steven Parrino an oversized black  canvas buckled within the space of it’s wall sized stretcher whose corners had been separated and staggered out across the floor like a baggy suit. the canvas bristling in random pulls and pleats directed to a central circular hole through which it was tightly pulled.

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What made this work was the tension in it, an action that left so much disorder in its wake, to find a relatively small anti-object, a perfectly clear circular hole, as its objective. Visually then, and in my mind now it holds a stillness like a pure idea within a physically wrought but fractured space.

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Recently returned to home ground, I’m looking for a constant to pick up on in my work as well as a sign of gain from six months time away. My paintings of crowds have operated on an underlying system, and I have to keep reminding myself that it’s not that of figure painting but a sort of typography in which the type, the letter or word has an inbuilt volition whose relationship is like a shadow to a light.

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In a group or a crowd it’s understood that individuals lose a certain sense of self reflection and agency, becoming agents of a larger sphere of action and projecting inner anxieties and reflective issues out onto another social group.

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Returning to type, in any decent font the ovoid shape within the letter O is in a different visual space from the undulating ring of ink that shapes it.

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This is what enables letters to be scanned easily, reducing their individuality within the reading of the word, by staggering the positive from the negative, it’s also what makes a crowd, to quote Tony Plummer, less than the sum of its parts.

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About nameerdavis

I'm drawn to the crowd and the culture it foments.
This entry was posted in art, crowd formation, information, information processes and tagged , , , . Bookmark the permalink.

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