(visits Mars with Data, Matrices, & Abundant Fluids)

detritus, archive, & sleepy wonderings
concernant height, depth, & volume

Come Forth into the light of things,

...Night makes no difference 'twixt the Priest and Clerk...

There was a swarm of bees and honey in the carcass of the lion and from that came a technological wonder to rival the mandalic gyre, mimicking the sidereal or spiraling movement ...

where oh where are you tonight? why did you leave me here all alone? i searched the world over and thought i found true love. you met another and, poof you were gone.

Clouding

House made of dawn, House made of evening light, House made of dark cloud...Dark Cloud is at the house's door, The trail out of it is dark cloud, The zigzag lightening stands high upon it*

*See Momaday

The war started as the result of a mistaken intuitive "calculation" which transcended mathematics.

and now...Our Feature Presentation ...da DAH

all photos Jonathan Green and Wendy Brown, 2008

The Heirophanic Peepshow

1. MultiPoint Collaborates
   1. 6 then 5 then 4 artists decide to present their ruminations on the nature of belief, including incredulous investigations into alien abductions, crop circles, transformation, primate behaviour, skill levels for knitting in the round, sound baths, healing potions, fundamentalist alchemy, more primates (this time typing away but on vintage typewriters because it's more stylish), and the transference of yam washing skills that facilitate descent or ascent through levels of purgatory where taking advantage of others and being foolish is much worse than murder.
2. The collaboration, it is agreed will be an experiment in balancing the individual practice and the group project.
   1. Is it even possible to make work that will consume space and proposition without consuming identity?
   2. What direction takes the idea when there is no charismatic focal point, when egalitarianism means sharing responsibility as well as votes?
      1. Sharon wonders about cults and stops to make multilayered paintings that reflect yearning, thoughtfulness, and obsession. Shows at People's Gallery.
3. Begin with St. Denis
   1. Abbot Suger has logically illogical ideas about the materiality of the immaterial and proposes a medieval "Third Space"* that seems curiously post-modern and sublimely tricky.
   2. We look at images of the cathedral in grainy black and white and wonder.
4. Pieces flow like jetsam
   1. April proposes a floor plan, grotesquely rerendered, in gaffers tape, a structural drawing folded inside the inelegance of the industrial workshop.
      1. This serves as base.
   2. Linda proposes a rose window made of water.
      1. ziplocking in condensation and hanging with mystical knotting procedure to the power of nine.
   3. Pam begins investigation into the spatiality of the Gothic and returns later with arbitration of the negative.
   4. Bryan researches fallacies and creates methodologies for surviving in real-time.
   5. Juliet considers the aesthetics of sound and wonders about the possibility of actually communicating within the structure she fancies.
   6. April continues with her development of nonsensical sense in liturgical texts of her own Brechtian dimension. Using cut ups, she proposes a wall of muted sound where a panenthic representation muses on clouds, bark, health, heroism and Nothing.**
5. Reassessment
   1. Front office becomes weapon store house where cardboard considerations of death stars float like nimbus irregularus.
   2. Gothic space needs to curve and lay flat; so Pam decides to make structural elements that won't support the weight of a flea, curved piers around which space flies, dislocated and expressive.
   3. Then Pam proposes a rendering of negative space in milky plastic and a charting of conversation on plasterboard planks that evoke portals to nothing.
   4. April talks and considers and thinks and cuts and desperately tries to find the hand tools.
   5. Bryan becomes consumed by his methodology.
   6. Juliet goes mute.
   7. Linda, April, and Pam sleep and eat and quietly build blocks.
6. Installation
   1. Transforming the space is everything. Beams and lifts and scrubbing and coating go on for two weeks.
      1. Tornadoes hit
      2. Fires burn
      3. Work seems a burden
      4. We eat too much fried food
   2. Linda strings up a musical portal.
   3. Pam renders space painterly and consuming.
   4. April muses and thinks and considers and cuts and tries desperately to find the hand tools.
   5. When the dust settles we feel gleeful at the ecstatic gyre that has swept through us and left us speaking with tongue-fulls of color and laughing with somber awe at the movement and light and painterly expression and the fact that we did something impressive despite extreme-sports-like difficulties.

* from Edward Soja's book of the same title

** with excerpts from Annie Dillard's For The Time Being, my own essay on Nothing, and The History of Trees