You should always look down on a circus

You should always look down on a circus

Charles Bukowski said “we’re all going to die, all of us, what a circus!”, at least according to the internet – I’ve got several Bukowski collections and I can’t find the quote. Bukowski is one of those writers who have hundreds of publications it seems, so it may exist somewhere. I read Bukowski because of the manner he works in, the continual production without, apparently, applying quality control during the process. It was my greatest frustration when I taught that people couldn’t grasp that creating anything works in stages and requires editing. It’s an iterative process. I also like the way Bukowksi throws out a thought and runs with it, following the route it takes towards whatever he ends up with. The quote above continues “That alone should make us love each other but it doesn’t. We are terrorized and flattened by trivialities, we are eaten up by nothing.” 

There is an obvious metaphor for life with the circus, the backstage (off ring?) living and the performative presence, the constant practice before the audience gets to see the output and the sense of separateness, of being in a community that does not belong to the general population, of being a way out. (Have I ever written a longer string of cliches?)

The circus, and it’s all a circus, should be witnessed from above. You should look down on the performers and the audience, freezing the action often to contemplate the ludicrous pirouettes and somersaults.

You should watch the purposeless gyrations and applaud, then make your choices like Beckett’s ‘Molloy‘  “[…] I came upon a kind of crossroads, you know, a star, or circus, of the kind to be found in even the most unexplored of forests. And turning then methodically to face the radiating paths in turn, hoping for I know not what, I described a complete circle, or less than a circle, or more than a circle, so great was the resemblance between them.”

Beckett, S (1979). The Beckett Trilogy. London: Pan Books Ltd

Sometime in 2003 or 2004 I made a set of wax maquettes for a group of sculptures and produced a couple of drawings from them. The other day, mid March 2021, I woke up having dreamt about one of the drawings and with an idea in my mind of a new figure for the group.

you should always look down on a circus, 2002/3 version 2

you should always look down on a circus, 2002/3 version 2

After producing a set of new drawings I set about finding the original drawings to compare to the set. The drawing above is the first one I found. I still have the idea of the drawing I woke up with and it’s closer to the image below but that’s not what I remember.

you should always look down on a circus, 2002/3

you should always look down on a circus, 2002/3

Both these drawings are 100cm x 70cm or thereabouts.

The title ‘You Should Always Look Down on a Circus’ is scrawled at the top of a each of two sketchbook pages that I found. I remembered the images were suggestive of circuses. Late nights watching Tod Browning’s 1932 film ‘Freaks‘  may have contributed to the feel of the portrait drawing, which I think was the first, but also the grouping of the objects and their interactions, including shadows, is also suggestive of a circus ring.

The new drawings started with a set of arches, referencing an unmade sculpture ‘acrobats’ from around the same period – Virtual Sculptures Gallery –

The large group in the centre of the gallery is ‘Acrobats’

tumbling 1

Tumbling 1

 

tumbling practice

tumbling practice

Juggler

Juggler

The dream suggested a set of tumbling arches and an almost tied knot that I’ve explored through a set of thirteen drawings, twelve A1 size and one 130cm x 100cm. The drawings eventually suggested a harlequin. –

Harlequin and Tumbler

Harlequin and Tumbler

Harlequin and Trapeze

Harlequin and Trapeze

I built a maquette for the group that I imagined and have since remade the original objects to reproduce the drawing that I had in mind. That drawing either never existed or has been lost.

circus maquette 050321

harlequin with tumblers

The first maquette ‘harlequin with tumblers’ made at the beginning of March.

I then recreated the original maquette from my drwings so that I could remake the drawing I think I remembered in my dream.

you should always look down on a circus, 2002/3 model remade

you should always look down on a circus, 2002/3 model remade

It’s a rough maquette but from this I did some more sketchbook drawings until I got the composition and then made the big drawing below.

You Should Always Look Down on a Circus (2003/4 - 2021)

You Should Always Look Down on a Circus (2003/4 – 2021)

I’m building a version of the combined maquettes as a larger sculpture, that will form another post.

VR Development Gardens Project – Four:

Progress has been slow on the VR Development Gardens Project as I freeze in my garrett and read around the subject. I was struck by a review of Donald Judd by David Salle in the NYRB.

Judd’s chief value as a critic was to point out the obvious: that art is a thing, something that is made. It is not inevitable and doesn’t exist in all times and places equally. There is an objective difference between art and non-art, and a given society will either view art as worth the trouble or not. For Judd, art had certain factual properties, and comprehending a work required first of all observing what is or is not the case, and also a knowledge of art’s history, of how we got to this moment. Furthermore, Judd reminds us that this history is often quite apart from whatever story happens to serve the cultural moment. People obviously feel very differently today: the question is, On whose authority is this history being scored?

Salle, D., 2021. Object Lessons. [online] The New York Review of Books. Available at: <https://www.nybooks.com/articles/2020/12/17/donald-judd-object-lessons/> [Accessed 8 January 2021].

Judd’s chief value as a critic was to point out the obvious: that art is a thing, something that is made. It is not inevitable and doesn’t exist in all times and places equally. There is an objective difference between art and non-art, and a given society will either view art as worth the trouble or not.

Everything comes with a qualification.

I’ve continued reding the Sissinghurst book, particularly struck with Vita Sackville-West’s insistence that the garden be allowed to grow for itself essentially and the aim for minimal intervention. You have to leave to one side the intervention that was done but I like the idea that plants were allowed to spread and the design for the moment rather than for all year round colour.

leaves macquette

leaves macquette

So since the last post I’ve continued to work on the Glover Street Model, firstly testing things out in Miro world and building models for the playground behind the house. I’ve built a slide so far, I need a roundabout and a seesaw. I’ve also continued to look at the paintings and built some sculptures.

lebrun_bather_two_corrections_a

lebrun_bather_two_corrections_a

The lebrun paintings are progressing and hopefully improving.

lebrun_bather_four_corrections_a

lebrun_bather_four_corrections_a

Although these pictures are slightly out of focus.

But it is difficult to get motivated enough to really press on, I’m wearing my woolly hat and gloves in the attic even with two heaters on from 7:45.

The sculptures have provided a breakthrough for the Glover Street Playground that will translate into low poly models.

VR Development Gardens Project

leaves maquette detail

VR Development Gardens Project

leaves maquette detail

As usual I’ve continued to draw every day.

VRD Gardens Project – Preamble

New Blog Post:

Before I get really into this new piece I’ve been tying up the ‘geranium project’, I started with a map and plotted the pathway through the different spaces now that I’ve rendered them as separate with their own weather, and introduced doorways to the next level. I’ve also registered as a developer on Viveport and submitted the VR world as an Art & Design App for review. If it’s accepted it will be available for free to anyone with a Vive and will also allow me to point people somewhere to get it when I enter competitions and look for exhibitions. I had to develop a visual identity and supply all sorts of images as well as filling in lots of forms and uploading a zipped build file. Fingers crossed.

map of geranium

Map of the Geranium Project

geranium viveport thumbnail

geranium viveport thumbnail

geranium landscape image

geranium landscape image

Gardens Project: Preamble.

For a while now I have wanted to make work that explores the philosophy of the garden. Artists as varied as Joan Miro and Derek Jarman have had a strong attachment to garden spaces, not to mention Monet, Cezanne, or Ian Hamilton Finlay. It seems to me that as a person matures whilst they retain their breadth they can seek to contain or centre themselves in a more defined space. This is not generally a place to hide, it is rather a high point from which to view the world.

I have begun thinking about a mixed reality artwork built around a series of gardens and hung around an autobiographical framework. The piece will present a ‘player’ with a pathway through different locations in a virtual world built for HTC Vive and Occulus(?) that represent particular times historically; 60’s, 70’s, 80’s etc., and particular times of life; early childhood, teenage, young adulthood and onwards. The separate gardens will contain evidence from my history and the wider world in the form of photographs and headlines, and be soundtracked by contemporaneous music and news sources. Each garden will be accompanied by a physical sculpture developed from these sources and each of these will act as a trigger for an Augmented Reality piece elucidating the sources.

I am interested in the way we build ourselves into our spaces and our spaces into ourselves as we age, and through this what the environments we choose lead us to and from.

I’ve been reading for background and I’ve put a bibliography at the end of this piece.

This is a video of a draft I made to put forward for exhibitions and funding.

Reference list

David Edward Cooper (2011). A philosophy of gardens. Oxford Etc.: Clarendon Press, Dr.

Jarman, D. and Laing, O. (2018). Modern nature : the journals of Derek Jarman, 1989-1990. London: Vintage Classics.

Miró, J., Yvon Taillandier, Lubar, R.S., Lippert, K.C. and Reeves, J. (2017). Joan Miró : I work like a gardener. New York: Princeton Architectural Press.

Young, D. (2019). Philosophy in the garden. London ; Minneapolis, Minnesota: Scribe Publications.