Which bit of the binary is 'YES' and which is 'NO'?
Are binaries subjective or objective?
Do binaries always have to be equal in their oppositeness?
> "The third key (of love) is the status of ‘memory’ in the experience of love. …….. The memory of love is the rumble of Body without Organs, the road not taken on the virtual that echo in the actual, the memory of the body they stole from us. Love is the call to enter that virtual and open up the actual, to instal inclusive disjunctions so that the roads not taken are still accessible, so that we might experiment and produce new bodies.”
> The first key is 'aimance', a term Derrida coined as a derivative of 'amour' to mean 'beyond love and friendship following their determined figures
> The second key 'experience'
- John Protevi’s essay “Love” in “between DELEUZE & DERRIDA” edited by Paul Patton & John Protevi (p184)
"Contemporary artists try to make sense of the world by identifying paths to follow by recognising patterns in chaos"
- Stephanie Rosenthal, BOS20 Artistic Director
- Samuel Beckett
Eudaimonia and how some cows are like rainbows, 2017
Ready-made Venetian blind, timber, electrical wiring, hardware, fluorescent lighting, void, fog machine, acrylic paint, fabric
In a completely dark room when you close your eyes you see light. This light is a phosphene, a light which is generated by the the eyes as part of the optic system. In part, this work is a recreation of that sensation.
“Cows are like rainbows” is something my daughter said as a young girl during a visit to a cattle property. She went on to clarify “cows are like rainbows because the closer you get (to them) the further away they are”. She had the ability to make any cow get up and walk away. I understood her quote as “quests often require us to overcome greater complications, unforeseen barriers or face longer journeys than originally anticipated”.
“Eudaimonia” is a philosophy described by the great Greek philosophers, Socrates, Plato and Aristotle as “Happiness as a virtue, a self-fulfilling way of life, the pinnacle of satisfaction as opposed to happiness through self-indulgence, decadence and abandonment.
How it works and its symbolism
You enter a darkened room through an open door. A false, maybe temporary wall is evident. It is painted the same as the room, right down to the black skirting board.
A curious Venetian blind hangs on this false wall.
As your eyes begin to become accustom to the darkness you notice the Venetian blind is a little off kilter and there is a faint purple light glowing through the slats. You get drawn closer. You are standing very close to the blinds by now, drawn by intrigue. The wall is less import now as the question turns to "what is behind"? The purple glow is quite strong and you notice a cloud of fog lingering around the blind. A single cord dangles, you know it operates the blind so you pull to find out what it is that is behind.
Opening the blind turns off most of the lighting, leaving on a small amount of purple glow within the fog., the rest is complete darkness. But it is a false wall standing in the middle of the room and you can see over it and there is light behind, however behind the Venetian blind is a void.
When you close your eyes you still see a glowing patch or two and some swirling happenings, even in complete darkness, in fact, in complete darkness you can see more with your eyes closed.
The opening of the blind is the opening of your mind to the opportunities of discovery; the turning off of the light is the closing of your eyes, the best way to enjoy the wondrousness of imagination, and void is made available for you to fill with your thoughts.
> Mirar: the wondering (the want of knowing)
> Admire: the wonderment (the imagination of the more)
> Mirror: the wonderful (the awe of one’s self, a time for self reflection, recognising your inner Narcissus
Mirror: Origin Middle English: from Old French mirour, based on Latin mirare ‘look at’. Early senses also included ‘a crystal used in magic’ and ‘a person deserving imitation’. - Oxford Dictionary
Mirror: The two visions of Narcissus
From the classical Latin “to wonder, to admire”, “mirror” (which has the same root as miracle) is thus a noun formed from the verb. “Mirror” as noun and as verb are two words less separable by grammatical distinction then most homonyms. Not only does mirror signify both an act of gazing and the phenomenon generating the reflected gaze, but the term is also applied non-literally to texts. This tradition, growing in metaphoric strength from Plato to Paul to Augustine, is most emphatically illustrated by the popularity of speculum or “mirror” as a title for medieval texts. “The aptness of the name lay partially in the inclusiveness which it implied....So widespread was its use, especially from the twelfth through to sixteenth century, that historians of literature usually dismiss the question of its origin and multiple meaning with a casual reference to uncounted examples of printed books and manuscripts to which the title was applied”.
Why do we look into mirrors?
To see ourselves, of course, to know how we look, what we are. But not precisely, to see or to know how we look to others. For the reflection in the mirror is not what others see; it is reversed. The reflection in the mirror is the gazer as seen by the gazer, an image represented by the chiamus of reflection. The image of the mirror as an icon of vanity grows from this technical truth, as the of Narcissu does not”. (wicked Queen in Snow White)
Ovid gives us the story of of Narcissus in the lines 340-510, Book 3, of the Metamorphoses and the name of Narcissus has become a commonplace for vanity, for self-love in narrative and poetry, existing somewhat discordantly alongside the iconographic tradition of vanity as a woman, usually a woman with a mirror. Not only does Ovid’s story have implications beyond the commonplace for an historicised study of mirror, but the figure of Narcissus raises subtle questions of gender and identity more,
Medusa’s Mirrors: A-M-M
Looking directly at Medusa would turn any mortal man to stone such as the ugliness of Medusa. Perseus was able to avoid being “stoned” by using a mirror to see where Medusa was before killing her while she slept.
The mirror was a shield for Pereus while being a ‘prison’ for Narcissus. Both Pereus and Narcissus used the mirrored gaze as a distortion of truth for their own benefit.
Mary had 7 children and a husband, all of whom remained in Ireland. Her marriage was annulled by the government of the time so that she could remarry four years into her seven year sentence. Mary married John Masterson, also a convict. Their daughter, Jane (one of another 6 children) went onto marry convict Christopher Maguire.
Mary Connor - my great-great-great-grandmother
Mary Murray - my great-great-great-grandmother
Bridget Meany - my great-great-grandmother
For convict women, their crime was usually increased from a few months in gaol to transportation while the men were often given the lighter sentence of transportation instead of execution.
Orphan ships, bride ships, female convict ships – all organised to bring women to the men of the colony.
1Greek mythology includes the story of the Minos of Crete at Knossos who engaged Daedalus to construct a trap the Minotaur. I used the design depicted on the Knossos silver coin c400BC.Further reading Doob, Penelope Reed. The Idea of the Labyrinth: from Classical Antiquity through the Middle Ages. Ithaca: Cornell University Press. 1992. Hughes, Robert. The Fatal Shore: A History of the Transportation of Convicts to Australia 1787-1868. London: Pan Books in association with Collins, 1988. My grandson, Oliver came to see my artwork. He ended up helping me, well, taking over, the deinstallation (it was the last day of showing and the work was due to be pulled down!) Watching him interact with the work and the way be pulled it apart made me ask why don't more of us knock down or at least step over the barriers that we encounter.
De-installation video featuring Oliver
click here to view images