the fragments found

8/2/2019 The Fragments Found

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14 - 19 June 2011. The Cass 59-63 Whitechapel Highstreet E1


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I nd myselwith a split o

consciousness.


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Tis Windswept Land has become the lter through which I siphonmy inspirations, thoughts and ideas the world created, ction rom

act. In a process o continual reerence I attempt to create pathwaysbetween each concept and inuence; relationships and conversationsshared between them whilst I work, an underpinning o my own ideasin a context much wider than the contemporary.

I had been unravelled by the concepts presented in researching theeects o time. Te idea o entropy, and o the movement o all things

through time on a universal level (speed and the passage o time beinga relative human construction) leading me to examine each moment inits passing, but also to search or a means o reassessment. In witnessingthe rush and race o ants across the orest oor in Svngsta, the upkeepo their home seemed trivial to the passing o human lie in turn ourown lie outsized by the stars o the night sky.Mapping Perhinderion asa project has become a search not to turn back time, but an attempt toreect on each moment as it passes the idea o latency, o delay andrepetition remaining key to any and all work within the project.

In a sense, I wanted to warp the timeline in creating Tis WindsweptLand. An attempt to break the binary o our common understanding ohistory, developing a process o sel-reerence driven by entropy un-

raveling order to disorder. Placing alongside each other the past, pre-sent and perceived utures o what we know as Earth. With each workthat has emerged throughout my initial discovery and exploration oTis Windswept Land, I have spun a web o hal-truths. wisted actsrom the worlds o science and ction, like Jorge Borge in his shortstoryTln, Uqbar, Orbis Tertius the discovery o a realm seeminglyconstructed unaware throughout hundreds o years within an extended

copy o the Anglo-American Cyclopedia. Tis gave oundation to thetimelessness I wanted to make part o the ethos o Tis WindsweptLand. Fact given to ction, presented as act.


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By creating Tis Windswept Land I have attempted to map out theinnermost thoughts and secrets o my mind. Troughout, the process

seemed incomprehensible to others a network o myriad connec-tions and narratives warping between worlds both ctional and real inthe construction o Tis Windswept Land, Perhinderion and all that itholds. Te process itsel then becomes an inherent part o mysel, andtakes on a lie both within and without me.

Te presence o a narrative seems almost contradictory when con-

sidering the idea that the timeline as such was both ragmented andcircular but it had always been my intention that the world I createdbe explored through literature as well as through objects. I had, sincerst exploring the possibilities o how my world might appear, dealtwith the concept o a split reality or consciousness, o a mirrored world.From issemand og issekone and Te ree o Lie I had dealt withthe balance o symbols, and the power between them a search or anequilibrium between aiths and cultures.

A project 2 years in the making,Mapping Perhinderion, is the rst ullyormed presentation o Tis Windswept Land to date. Using sound asmy probe, I have begun to explore the acousmatic depths o Te Abyss,mother o Le Mistral and the curse o Perhinderion. Te loops o nar-

rative that had woven themselves through the project had appeared asi rom nowhere, their roots on the ringes o the subconscious, andconstructed rom ragments o act. Tese actions o reprocessing, odiscovery, consumption and regurgitation is what ascinates me most.Te sounds uncovered, as i having lain dormant latent power andacoustics awoken in perormance, entropic cycles o deconstruction:past, present and proposed uture orms.

As each acet o Tis Windswept Land is tethered to acts, so is Perhin-derion connected to the Earth. Geographical specics dominated its


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early orms, Les Alpes Maritimes giving shape and to Perhinderion,thecultural aesthetic o Provence buried deep within the project. In Map-

ping Perhinderion, the converted truths see actual existence oncemore. Te map o each range acting as evidence to its reality, the col-ours and contours o each derived rom Te ree o Lie (2009).

Te earliest stages o Tis Windswept Land were based around thereprocessing and re-appropriation o knowledge, acts and gures. It isnow that in its nal presentation, its journey begins to turn. With suf-cient evidence pre-existing, it is possible now or the process to becomeyet more internalized. Trough sel-reerence, Tis Windswept Landtakes on autonomy beore unknown. I become a simple observer atranslator, as it begins to build its own bridges. Bridges built by ants.


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Te speed o ants,the lie o dogs,

the age o man,the passage o time.


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Alignment Teory 1.1


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Alignment Teory 1.2


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Fragment 1.1

Te tenth sphere could be seen setting on its horizon. It was unny howthe skyscape shifed each its own satellite whilst in orbit o another,never truly knowing where one might cross rom one horizon to thenext. I mean what was the point now that everything had been re-vealed? Te countless euds between the clans because o this I neverreally understood how they didnt see things a little more holistically,

but generations o dispute generate yet more disputes. And so I sat backand watched the eon pass, eternitime being one o the ew advantageso Perhinderion.

Alephen oclock came and went as I ducked beneath the boughs o Teree, to the tangle o knots and roots that served as a cover rom theelements. It would be time to move on again soon, you thought andthe truth could not have been closer, or as you held out or the cover odarkness the rst sounds were heard

Te wind blew strong tonight or so it seemed as the branches aboveme twisted into yet another orm. It seemed as though the world grewrestless anxious o a ate yet to be seen. For it had been many years

since Le Mistral had struck, though many remembered its visit.

100 days o eternity or so it seemed caught within the connes oyour sel. A seemingly orced incubation a hibernation that knewonly the wind as its winter, only the wild whip o its voice to sooth yoursleep each night.


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Le Mistral coaxes me.He speaks o lie that I knownot, o sights I cannot see.For whilst he roams around

this land, we dare not showour ace or who knowswhere it might be taken i itwere reed?

Fragment 1.2


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Te canyon that is its gut,Te Abyss that sucks.Te Abyss that sucks in.Te Abyss that stays sucking,Its Te Abyss that sucked.

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Fragment 1.4

I eel its draw, the lure o Te Abyss. On the wind its voice is heard how she sings through his voice siren song sets o sirens in my head.

I can tell Le Mistral draws ever closer.Te time to act is now, the time to look orward is passed simplyconcentrate on your eet and search no urther than that. For this gazeo yours makes no dierence to the gauging o my journey. Tedistances are long and the road treacherous but I ear not or mysel.

Te route would take me straight to the mountains themselves, into the

territories o Te Abyss, through valley, orest and over stream I seekthe signs that this journey is not in vain hope. Tat in vanity I mightsee a truer reection o the world that stares back at me, I enter into mymind.


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Alignment Teory 1.3


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Alignment Teory 1.4


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Fragment 1.5

It is hard to imagine a beginning. Boulevard Seraphin Perrot seems asgood a place as any to start rom afer all, was it not here that the rstshards had slipped rom place? No louder than the clink o glass againstglass as Father poured what was to be the rst o many brandies thatday, they ell into the slipstream, a ow o thought so rapid that, even

had the shards been noticed they were lost rom sight in seconds.

It must have been impossible or you to have known at the time. Teimpact o actions that drove you ar rom any place that might ever becalled home, ar rom any thought o return. As I saw your eet passacross the stone oor and out into the bright, harsh light o that ateul

winters morning, the wisps o og that curled through the garden,rising up out rom the streambed as i some smoke-like monsterstentacles.

I could see it in your stride, even i you didnt see me watching. Teregoes my brother I thought, how I should think o you in comparison towhat I see beore me now!


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Alignment Teory 1.5


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Tis Windswept Land has become an internalized journey. A quest ounknowns and unknowables as I try to untangle the labyrinthine path

through my own brain. As I made my initial preparations or this jour-ney, I developed a series o processes, rules and limitations that beganto impact upon the way in which I worked. My desire or authenticityin all that I create expanding beyond any realm o sel-control until Ibecame dictated to by my own creations trapped in a sel-made sae.

Tese processes be it measurements, construction techniques or

simple ideas began to grow until they overshadowed the work itsel.What once were mere mountains were now truly converted molehills.Te pressure that pushed them to rise seemingly dissipating thoughsome psychic explosion as my brain poured molten, like lava out myears.

Te concept o the ailed quest is one that rst allowed me to begin myjourney the ailings o others acting as the learning curve or my own.With a ascination or the myths and stories that build cultures, aithsand religions across the globe in most you can nd repeated strands,a re-telling o the same story.

What grabbed me most were the stories o creation. A ree o Lie,

Fountain o Youth, or Philosophers Stone it seemed that every cul-ture, every aith (even the scientic) had their belies. Yet what pre-vailed most in each retelling was the continual ailure o each to ndtheir own. Even in todays modern society the hunt continues, a newwrinkle-deeating cream appears with each new wrinkle; silicone,plastic surgery, Botox all crammed into our bodies in a hope o stay-ing young. Beautiul. Perhaps this is my own attempt at eternal lie.

Immortality lived out by the objects and stories I create as opposed tobeing lived by its creator.


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the fragments found

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