From The Author of the Acacia Seeds
and Other Extracts
And with them, or after them, may there not come that even bolder adventurer — the first geolinguist, who, ignoring the delicate, transient lyrics of the lichen, will read beneath it the still less communicative, still more passive, wholly atemporal, cold, volcanic poetry of the rocks: each one a word spoken, how long ago, by the earth itself, in the immense solitude, the immenser community, of space.
'Leftovers Are Us' @ The Parasite
Natalia and I are working together to present an arrangement inspired by the Japanese art of Ikebana, a practice with a specific set of rules regarding the arrangement of still objects in a way that seeks to emphasise a sense of harmony and inner 'life'. We presented 'My Silicone Hands I Need To Wash' within MARTIN, the first vitrine housed at ABSINTHE 2 and we have since been invited by Collective Ending to occupy the second vitrine, The Parasite, which is recently been installed at the Spit & Sawdust.
She has invited me to write in a more freeform way in response to her practice and the ideas she has for within the Parasite. This text piece is my first attempt at writing in this way for an artist. I am not an artist, and regurffffffgitating the meaning of Natalia's work back to her makes me feel almost a little queasy myself.
We are presenting a new physiological freakebana installation, titled Leftovers Are Us, which draws on the human form for reference - rather than natural forms as we did within Martin.
From what I know so far about the ceramics she is making, they reference the inverse of a human form, something that fits onto a human or aids them in someway. A plaster, a tampon - are both parasites of their own in this way, they attach briefly (although to assist rather than take from) their host. They fill up. And then they are discarded.
As well as ceramics, Natalia is peppering her installation with emoji-like miniature motifs. These oreos, ice-cream cones and carrots reference digestion and momentarily, I imagine my own stomach making a quaint attempt at communicating with me in this form. She tells me her friend took one look at some of her process photos and called it a 'seaside nightmare', a 'pink sea creature washed up on the shore'. Bloated guts and plastic spill from within this freakebana. That's one stomach that didn't communicate fast enough.
Natalia's references to bodily process and organic matter strike me as most eerie when paired with latexes and silicones that wouldn't ever break down (even if you asked them nicely).
Words by Georgia Stephenson
Like the elements of which we are composed, the action of these forces extends beyond us; it rusts iron and ripens corn. Far out on every side of us those elements are broadcast, driven by many forces; and birth and gesture and death and the springing of violets from the grave are but a few out of ten thousand resultant combinations. That clear, perpetual outline of face and limb is but an image of ours, under which we group them - a design in a web, the actual threads of which pass out beyond it.
From The Structure of Scientific Revolutions
Yet one standard product of the scientific enterprise is missing. Normal science does not aim at novelties of fact or theory and, when successful, finds none. New and unsuspected phenomena are, however, repeatedly uncovered by scientific research, and radical new theories have again and again been invented by scientists.
The practice of normal science depends on the ability, acquired from exemplars, to group objects and situations into similarity sets which are primitive in the sense that the grouping is done without an answer to the question, “Similar with respect to what?” One central aspect of any revolution is, then, that some of the similarity relations change. Objects that were grouped in the same set before are grouped in different ones afterward and vice versa. Think of the sun, moon, Mars, and earth before and after Copernicus; of free fall, pendular, and planetary motion before and after Galileo; or of salts, alloys, and a sulpuhur-iron filing mix before and after Dalton.
From The Immense Journey
A billion years have gone into the making of that eye; the water and the salt and the vapors of the sun have built it; things that squirmed in the tide silts have devised it. Light-year beyond light-year, deep beyond deep, the mind may rove by means of it, hanging above the bottomless and surveying impartially the state of matter in the white-dwarf suns.