"The sun is shining brightly here in Port Sunlight. It’s the middle of the day. Not much has changed, yet every day brings a little something new or unexpected. You’ll remember how last time we saw Shuffle and Faye in the kitchen, they were a bit out of sorts. What is going on with Ma? What is it she needs to tell old Shuffle and is Shuffle really onto something? Let’s hope for Shuffle that there is some light that guides him, if only a dim glow. What do you think? Will we ever know the truth about the cousins?"
Download a pdf of the full script.
Readers: Elizabeth Atkinson, Clair Le Couteur, Bill Gross, Rebecca Jagoe and Freddie Mason.
Hands: Yarli Allison, Ksenia Burnasheva and Adam Glibbery.
Music Composed by: Spencer Gross (with thanks to Lars-Emil Madsen).
Advantage of a Setting Sun, 2020
The image changes with the intensity of heat within and around us. as we move towards the heat it only changes in manner, not in kind. phase transition happens instantaneously, whatever that means. still, although there can be no doubt that a radical change has occurred, it still retains a relationship as changed to that which it has changed from.
stuff appears to me like this, first order material, heavy, solid, glass, metal, plastic, things that are hard but can be shaped and moved, by cuts, by friction, by push and pull, proximity to another lump, a hand, a club or metal muscle, moved and bumped and knocked around, carefully jiggled, stuff appears to me like this, second order, light, light bending, refracting, intermediate, mesomorphic, layered isotropic order, intercepting photons, managing intensity, pixel to pixel, matches and forest fires side by side, soupy connections, images, impressions, vastly disparate yet pointing in the same direction, windy stuff, appears to me like this, third order, immaterial, transitory, ephemeral? NO! fleshy, corporeal, touchy, working, sweaty job, that’s your job and my job, your job getting closer to my job, your sweat mixing with my sweat, two pearls, discreet images, yoking, peeling screen peeling back, cornea gone, words sputtered onto the unprotected iris, muck on the unprotected boot, wiped away, pulling out and rolling in, chars the retina, extremely frustrating but not really irreversible, always an incomplete combustion sparked by something (or someone) getting closer
Herzog & de Meuron, you send me! soaring through a perforated brick wall you send me into fits of trying to remember the smell of burnt toast in the morning and wondering why burnt toast has a different smell altogether if you burn it in the afternoon you are this place for me to think like this you are the place for me to not be wet as well as the place for me to be cryptic to be exaggeratedly conscious of my style of writing to be two times the the thing I am or more more toast than human that is what it is to be in love you are there all around me like the flesh around the bone Herzog & de Meuron you look at me glueing a sheet of polycarbonate onto a sheet of bendy ply sawing a two by four into 8 pieces of equal size it’s probably lucky we stayed here cause our rooms a mess destroyed the wall You are solid and fast and you surround me. All over everywhere. I use you. and through you find myself again and again standing beside you, inside you, around you.
Letter #9, RCA, 2017
Preview, Fingers Crossed
Cast of soap made on chipfat from the Battersea Grill across the street from the Royal College of Art. The work consisted of a series of performative conversations in the Battersea Grill which accompanied the sculpture, held during the time of the exhibition. The conversations were held daily over a late lunch for the two weeks while the soap ‘e’ stood in the Dyson Gallery.
Preview, Studies, mold