Friday, 20 November 2015
Thursday, 12 November 2015
Sunday, 8 November 2015
Saturday, 31 October 2015
Friday, 30 October 2015
The Travels of the Toucher
8 page publication, with texts and images, edition of 50
On
a wet and windy day, they journeyed out to Tigh na Cailleach, home of
the Old Woman of the Glen, just before she withdrew into her shelter for
winter. They were not sure what they might find, or what to do when
they got there. They were walking a path that had been walked for
thousands of years. They were hopeful that they would make their
destination on time, and fearful of regret, lest they should have to
turn back. It was not that time or nature were against them; it was
simply that the elements continued, and would continue interminably,
before them, after them and in spite of them. The night was drawing
closer with every step further into the heart of the glen. Colours were
changing to soft and rusty ochres, greens and bluey-greys. The form of
the land was becoming gentler and more rounded. The deep, broad loch had
now tapered off into a trickling stream; yet the wind raged on, and the
rain beat with a stinging patter against their faces.
photography leslie-jones
Helleristningane Clay
Excerpt from sound installation, component of The Travels of the Toucher, 2015.
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| Blue sack, concealing Helleristningane Clay sound installation, component of Two Poke Holes and the Art of the Toucher, 2015. Photo by Leslie Jones. |
Interview with Edinburgh Scupture Workshop
Edinburgh Sculpture
Workshop: You have written about your interest in creation stories
and the origins of the creative drive. What has been the starting
point for making during your time on residency at the Edinburgh
Sculpture Workshop?
Dillan & Eleanor:
The very first thing we did was to make two armholes in a card board
box, and put it over our head while modelling some clay, one box each
and one lump of clay each. We didn’t have any idea for how it
should turn out, it was just a way of exploring the material, and how
to begin making something before an idea has formulated.
ESW: During your time here you have made further constructions with similar armholes that obstruct your reach and sight, prioritising a tactile encounter with lumps of clay. When you have finished working into the clay, taken the box off your head or walked around the screen, and seen what you have made, what do you do next?
D&E: That is a key question - what now? Where is the work? There is some thing like a performance in the making and something like a sculpture left over after that, but we felt that neither was really it, or that the work is somewhere in-between those things. So to answer the question: We weren’t really sure what to do next, because we weren’t really sure what we had done with the clay or what it was. We tried different things - writing and drawing, building up and breaking down the clay. We had a similar experience when we went on our trip to see the ancient sites. We didn’t really know what to do when we got there, and we didn’t really understand what they were, or even why we were there.
ESW: You have been writing about the sculptural experiments as a way to reflect upon them. Can you talk about how your writing functions within your practice and how it affects the decisions about the rest of the work you make in photography, film, drawing and with sound? Do you see writing as a way to negotiate the un knowns that arise in the making process?
D&E: It might not reveal what is unknown, but it can help to give clarity to those ideas or feelings that one is aware of when making the work, but that just pass fleetingly through the mind at the time, and may even seem inconsequential. It’s also a way to explore somebody else’s work – to really pay attention to what you are looking at and your response to that. It’s an attempt to focus on your encounter with the work, rather than what you think it ought to be about. As with all the other material we work with, such as photography, writing feeds back into what we are doing, as something to reflect upon, and as an element to combine with other things. It’s all potential matter for the constellation of stuff that makes up the work.
ESW: During your time here you have made further constructions with similar armholes that obstruct your reach and sight, prioritising a tactile encounter with lumps of clay. When you have finished working into the clay, taken the box off your head or walked around the screen, and seen what you have made, what do you do next?
D&E: That is a key question - what now? Where is the work? There is some thing like a performance in the making and something like a sculpture left over after that, but we felt that neither was really it, or that the work is somewhere in-between those things. So to answer the question: We weren’t really sure what to do next, because we weren’t really sure what we had done with the clay or what it was. We tried different things - writing and drawing, building up and breaking down the clay. We had a similar experience when we went on our trip to see the ancient sites. We didn’t really know what to do when we got there, and we didn’t really understand what they were, or even why we were there.
ESW: You have been writing about the sculptural experiments as a way to reflect upon them. Can you talk about how your writing functions within your practice and how it affects the decisions about the rest of the work you make in photography, film, drawing and with sound? Do you see writing as a way to negotiate the un knowns that arise in the making process?
D&E: It might not reveal what is unknown, but it can help to give clarity to those ideas or feelings that one is aware of when making the work, but that just pass fleetingly through the mind at the time, and may even seem inconsequential. It’s also a way to explore somebody else’s work – to really pay attention to what you are looking at and your response to that. It’s an attempt to focus on your encounter with the work, rather than what you think it ought to be about. As with all the other material we work with, such as photography, writing feeds back into what we are doing, as something to reflect upon, and as an element to combine with other things. It’s all potential matter for the constellation of stuff that makes up the work.
Thursday, 29 October 2015
Two Poke Holes and the Art of the Toucher
An exhibition at Edinburgh Sculpture Workshop at the end of our residency. The work produced for the exhibition has been kindly funded by Det Norske Kulturrådet/The Norwegian Arts Council.
Wednesday, 28 October 2015
Two Poke Holes and the Art of the Toucher
Two paintings (acrylic
on paper) with two carved turnips and a ceramic object, from the
exhibition Two Poke Holes and the Art of the Toucher at Edinburgh
Sculpture Workshop
Sunday, 25 October 2015
Thursday, 1 October 2015
Wednesday, 30 September 2015
Friday, 18 September 2015
Sunday, 13 September 2015
Thursday, 10 September 2015
Monday, 17 August 2015
Tuesday, 14 July 2015
Yorkshire Sculpture Park Visiting Artists
Eleanor Clare & Dillan Marsh are Visiting Artists at Yorkshire Sculpture Park . Their residency has been kindly supported by the Park and Bergen Kommune.
Saturday, 20 June 2015
Monday, 15 June 2015
Halhjem Helleristninger
From
this blood was made the sea and the lakes,
From
this flesh the earth, and from this hair the trees,
From
these bones the mountain; rocks and pebbles from the teeth.
It
was a secret, hidden place. The dark, almost purple hued crag of
rock loomed out; a natural incision into the otherwise soft and mossy
track. At first it seemed that it would reveal a dark and hollow
space within, but it was simply a surface. The rock was porous and
weather beaten.
Such
a flood of blood flowed from his sore and gaping wounds, that all
were drowned, except for a couple of lovers, who escaped by climbing
into a narrow oaken casket. They were carried along by the current of
thick flowing blood, still warm and pulsing from the throbbing wound.
They clung onto each other whilst being jolted forcefully together
by the rhythmical pounding of the waves against the sides of the
casket.
A
great, yawning, cavernous void opened out onto the fjord. The cold,
dark water lay silently beneath the arched crevice of rock, seeping
in between the tiniest of cracks, and leaving behind a slimy coating
of rusty red as it withdrew at low tide. There appeared to be total
darkness inside the cave, a place seemingly without walls, leading on
and on and on.
The
lips surrounding the darkness of the interior are parched and
bleached by sunlight. Just inside, the air is thick with moisture as
the water evaporates in the heat. Further on, the air seems to
clutch at one, like the cold and icy fingers of death clinging on to
a living body; caressing its back and loosely smothering its face.
Yet there is a stirring in the water, as though something within has
come to life.
The
carvings had been rounded and worn away over time, and had been
highlighted in red paint. Things fade and disappear over time; they
shrink back into the world of matter, formless and nameless, much as
they may have begun. The mists of time have already erased their
meaning, despite the most valiant efforts to preserve and interpret
them.
As
the carcass decayed, maggots appeared in its flesh. They fed upon the
rotting matter, and as they did so, their form evolved into something
resembling man. Their skin hardened from the soft and translucent
membrane of a maggot, so that they could withstand the light of the
sun and the cold of night, although they continued to live in the
earth and rocks, burrowing deep into the corpse, which had first
sustained them.
The
skull was lifted high up above the earth, and from this became the
sky,
The
brain was thrown up towards the crown of the skull with such might,
That
in unravelling it became the clouds.
Documentation from Kuenstlerhaus Dortmund
Still from video loop
Tuesday, 10 March 2015
Thursday, 5 March 2015
Wednesday, 4 March 2015
Thursday, 26 February 2015
Saturday, 31 January 2015
NEVERODDOREVEN @ TABS - Temporary Artists' Bookfair, Berlin
Deuxpiece present NEVERODDOREVEN at The Temporary Artist's Bookfair, Berlin.
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| NEVERODDOREVEN represented by Deuxpiece at TABS |
 |
| NEVERODDOREVEN represented by Deuxpiece at TABS |
 |
| pagespread fron NEVERODDOREVEN by Eleanor Clare & Dillan Marsh |
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