Sunday, November 15, 2009

a rosary (15/11/09)



How does the concept of difference relate to verbs?



Shall I produce an album of trumpet sound landscapes (and invite Amy to participate?)



Are there natural rhythms to creativity or am I just lazy?



Do I prefer wild roses?



Did Matt Collins know I would find this?

Leaf Soup (November Thoughts)



Reluctantly had to go out this morning to pick up money for tomorrow's taxi and food shopping. However, as I made my way to the shops I saw how fresh and beautiful yesterday's storms had left everything. So I made a second journey with my camera and collected some ideas...

My mind was full of recent things and the crisp air always seems to encourage clear and wide-ranging thinking. So I thought of the possibilities of the trumpet for albums, in both its raw and cooked states (acoustic and electronic) following on from contact with trumpeter Amy Horvey who sent some sounds to Consemble G yesterday.

And I though of the language soup that is Semiology, as I prepared and gave a lecture on this and other topics to my first year group last Wednesday -hence the allusion to Lévi-Strauss above. Through re-contacting it through my research I've become much more interested and sympathetic towards Post-Structuralism (it was the only mode of analysis when I was an art student so I rather took against it).

It still leaves me with questions though (every pun intended).

I find inspiration in the general thrust of writers such as Barthes and Derrida as they point to the fact of writing (language) being a potential trap - and the way beyond this trap is to be playful, to constantly reinvent, to be comfortable with being decentred.

The problem I have is with the whole of language being structured through difference; intuitively I feel this is wrong or at least only part of the story. And I'm left wondering whether I am in error through my misunderstanding of difficult material or whether I'm correct and need to explore alternatives. On a day in November.

Monday, November 09, 2009

Firework Music



November the 5th: Guy Fawkes night, Bonfire night, Firework night. I like the last one the best, the idea of works in fire - earth works, water works, fire works...

I've always loved Firework night; when I was a child the comics (Beano, Dandy etc.) would be full of their characters lighting bonfires and watching impossibly exotic rockets and bangers and catherine wheels fizz and whistle and explode.

My family would always gather around a real garden bonfire and we would have roast potatoes in their jackets and watch as my father carefully placed the empty milk bottles as launch pads for skyrockets or lit the blue touch paper and retired (as the instructions quaintly put it) before the world became a mass of green or red or amber flames.

I loved everything about fireworks - I loved buying them, choosing them individually to amass a collection. I loved the fact that you could gaze at them, hold them, excitedly wondering exactly what experience they would bring, what colours and sparks and surprises they would give. I loved the poetry of their names, (Silver Rain, Traffic Lights, Versuvius, Crackling Cauldron, Wallop Wobbler), I loved their shapes and I loved their graphics. So much so, that my sister and I would explore the garden the following day looking for their burnt-out shells so we could collect them to remember the pleasure they had given. And I have just found a book (and related website) by Mark Fleming called 'Firework Art' which as the title suggests, is full of these nocturnal evocations and is a thing of beauty.

And this has reminded me (remember, remember) that one day I intend to make some Parallel Music pieces on the theme of Fire Works.




-all images from 'Firework Art' by Mark Fleming - the book costs £10.99 including 1st class postage (in the UK) and also contains 4 colour postcards of a Standard Firewoks ad. Excellent value and thoroughly recommended - a real labour of love.

Thursday, October 22, 2009

Fragaria (prelude) - slideshow and thoughts


I have now put up a slideshow of images: www.paulramsay.co.uk/fragariaprelude/slideshow.html relating to my 'Fragaria (prelude)' show, prompted by a talk I gave yesterday (21st Oct.) to the Land/Water research group at the University of Plymouth.

Preparing for this show has made me focus on how best to present and articulate my work and so has been very useful. I've had some very positive feedback and I am looking forward to developing some bookworks and the next event (the 'prelude' in the title is intended to suggest this show as a forerunner to a larger exhibition).

***


On another note, I am posting out the latest CL Consemble newsletter on the 25th October:
www.chameleonlectra.co.uk/newsletters/CL_Newsletter10.html

Friday, September 18, 2009

Fragaria (prelude)



Fragaria (prelude)
a small show of paintings

from 18th September to October 28th 2009

Scott Building Foyer,
University of Plymouth,
Drake Circus,
Plymouth,
Devon PL4 8AA

Paintings (on wall):
1./ Raspberry with salt on 12” record painted white*
2./ Blueberry with salt on 12” record painted white*
3./ Blackberry with salt on 12” record painted white*
* with acknowledgements to Ellie Parker for providing these records, ready-painted with emulsion.

Work on plinths:
4 Paint tins [pitara, red plum, strawberry, raspberry]
Fragaria (island)
Periodic Review
Cerasum

These speculative pieces have grown out of my previous explorative practice of combining sodium chloride (salt) with water-based paints - a practice which enables me to work in a space between chance and control in my artwork (and runs parallel to my work with indeterminate music composition).

During the Summer of 2008 I began to use fruit, first as an admixture to my acrylic/salt mix, then eventually realising that fruit alone provides all of the essentials of commercial paints for my purposes: hue, texture, a covering medium etc. while also returning paint to its roots: poetic yet fallible.

The application of fruit/salt to a variety of surfaces has generated the possibility of my developing a vocabulary of objects in relation to form (e.g. the square, the circle) and content (meditations on chance and composition, the poetics of the gramophone record, the act of painting and in the case of ‘Cerasum’, sexuality).

Monday, August 31, 2009

Consemble: EFGC2 Concluded

Midnight the 31st August 2009 sees the conclusion of the second round of Consemble licences:
Consemble E: 'soul electric'
Consemble F: 'washed up on your island'
Consemble G: 'sky writing'
and the continuation (second licence):
Consemble C2: 'the idea of voice'

Consemble has been a great success this year with an even wider range of contributors (particularly due to my networking through NetNewMusic and OPENFluxus). I'm very encouraged by this and am considering how to develop Consemble even further.

Over 43 contributors have taken part and although the licences are now closed to the general public I am going to invite participation from a few key people (with a deadline of Saturday 24th Oct.) - I will then issue a newsletter and another blog article.
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