We are the object. Nandos or Art.
Lots of Art to see One Night Only
except for some of the lesser works.
UPPER LEVELS IN THE FRAME
The currency of the Platform Arts exhibition Keyframe suggests we take a journey or pathway separately and Sontag like we also cross into other realities.
Susan Sontag ‘when crossing spatial borders, the photographer becomes “a tourist in other people’s reality” and eventually in his own.’
quoted in Colin Martin’s leaflet where the writer attempts to introduce us to this and asks further how reliant a capture of the time and place it actually is? How repeatable it is? Both these questions entirely subjective but for the individual normally answered negatively – another unexplored film meaning. Then axiomatic.
These key topics in the installation are enticed out on 5 floor mounted screens with sequenced cycle of the same film are according to the above reading of the leaflet, its own little film synopsis page, complete with actors, the room, subject , the Irish Film archive, the jeopardy, the unknown behaviour of you the viewer, the money shot, the key frame. As a film show the leaflet is meandering on the content and does little other than outline objectives. Not the artists fault but the editorial of the film is very narrow and unchallenging.
Why chose 5? 100 +- is theoretical as are worn images the archive presumably obtain.
It might even have worked in a supermarket. Or even Rita Duffys pop up shop an archive of experience packaged and all for sale POA.
Do you think any other significant variables are missing from your consumption equation according to standard consumption theory?
Estimate using what you consider to be a more corehensive formulation of the consumption function.
Give reasons for the inclusion of additional variables and discuss the economic and econometric results.
Piled dated goods. Content labeled, commodity presumed, entirely disposable and incomplete and removed from the marketing effect the label induces. Recycling. Packaging. Semantics?
Supermarket as archive, not so strange. Our consumption is cultural, produce is repeated and reinvented, contains such laden baggage dating back to its invention. Labels are King. Experience.
The installation is extremely dull and un reaching towards the supposed goal.
It was minimalist art at a minimum.
Posed as being derivative of the Michael Snow Wavelength, given the gravestone token of seminality, from the vesicle sak, as if any one has a clue what that actually is – highly original? Influential certainly hence the laboured reproductions and mis treatments, very much this a case in point.. So it shall rest. It is untechtonic, unexpressive, unmachineness, pure rolling – and most likely as Wavelength, planned to be shot un chronologically. When did anyone perceive the eye cannot be duplicated even in watching film?
You might draw a distinction through this being ‘film’ of ‘film’ but that is a lame derivative adventure.
The film is itself an archival work without a reach into the organic processes of the room. Taking and making a film into another technology unseen, unsaid, its at the rooms most inert functionless time, when it is without the archivists, time locked, it merely depicts the room, dimensions though partially, the wall and door furniture, it’s shelving, nostalgic nods to library of reels, names of series adored in CinemaScope once again.
Of course reactions and memorial will be different and Keyframe lacks that acceptance everyone of us has when they lift a camera point and shot. Unlike Sontag who never made films but participated in others as an act of disturbing her own biography by performing within, you have got to believe it entirely within her own set limits for the filmmaker who however appears in these works on Sontag to have enabled freedoms. Like hell she has, it is impeccably orchestrated by the photographer who knows what the lens pointed towards her produces. Sontag gorgeously commits this part of herself, her own skill, knowledge and mercurial image onto the film big time.
Sontag was aware and Colin Martin presumably endorses the leaflet writers take on it – uses the word ‘parlance’ implying reading the huge difference instructing the course of ‘transition.’ Film is of course transitory. The frames shown could also been retaken on different days, where are the rough cuts, the trial runs, the debris of EDITORIAL on the floor?, instead we get the lifeless materials of the front and back – meaningless, perhaps that is an out, – keyframes. The film or leaflet is titled Thousandfold it seems.
by Sean Guinan also at Platform Arts is a small display of paintings gathered under this title.
They are intensely worked oil both texturally and conceptually. Sean Guinan begins his painting without a motive but placing a mark as artists will assert begins the unfolding of motive, direction, intent, time, statis, act, turmoil and then that word again employed here as a jolt, transition.
Everything changes as the cliche tells. The Mac exhibitions also going off at the same annoying time are time referenced with transition dealt with hugely. More on the Mac later.
Sean Guinan has produced art intentionally bordering the figurative.
Nature, that then – it has since altered – complete evolution , is stuck to the canvas (some appear canvas I assume all are) in developing spiraling only occasionally dots and in the process what emerges is a graceful very calming set of works.
The sleeping giant without being aware of the title did evoke in me a conscious of religious repose. It is an ‘element’ at rest, animal or spiritual with a skin of many colours.
I had a sideline conversation on the place of spirituality which in the frame of God, does not go down in artistic circles, except for the binding relation with patronage through the progress of art. It didn’t strike accord.
Ruskin put it better than I ‘dramatic circumstances‘ that covers many art ventures, ‘…place of art in the discovery of God.’ Meaning of course the art is the route but is it not also the search of a discovery. Not plain representation mistaken hugely as art. It is a vector to separate and make seem un reachable and beyond mankind. Therefore I maintain, it is the discovery of the artist being conscious of the limitations, only reaching a certain and often ultimately that ceiling, cathedral like?, which signals the end of that artworks mark physically. Transition as Sean Guinan ‘Signals’ to me a viewer that stretched moment. A fixity in time.
This work is certainly worth seeing in its confined space.
Had a bit more imagination been shown the risk could have been taken in giving the larger space to Sean Guinan. He may have formulated a connection with the room. Keynote discards this and uses only a quarter of the space which in my mind is not an artistic or curation choice but bad choice or a lack of communication. Sean Guinan has the challenges of his occupation and is very, very, commissionable. Many Platform works are responsive to the space, the main gallery, Top level I call it. The art therefore grows and the space adds its proportional strengths and proprietorial genus loci – its exhibitions always seem to have something to say of the ethos of the gallery.
The work produced by Sean Guinan is heavy on the medium used and unless the work of artists – the ability to write off large chunks of materials in their tax breaks – given that proprietorial extension for the work is advanced it will be increasingly difficult here in Ireland to develop the talent that is seen expressed in spiritually maquette form.
This is essential for the advancement of the society we live in.
Understanding art leads to so many levels of understanding which are not simple accumulation of theory, electronic or otherwise but world affirming.
SETTLEMENT OR SUNKEN
AT TIMES LIKE THESE MEN WHERE WISHING THEY WERE ALL KINDS OF INSECTS
The Mac has an ill considered space, the sunken gallery which attendance is for fit persons or those prepared to once again deign to the discrimination of a elevator especially tee for them.
If you go there thence forth you will see the very surreal piece of commemoration in the work by Graham Dingles. His work also features in the constrained Art of the Troubles (as if we hadn’t the capacity as natives to digest our own lives) and in the sunken space a building of memory is elegantly provocative of the sense of touch, materiality, amber cast
He generously filled in gaps in my reading of the work which were considerably given Graham’s ability to explain the intellectual theory and to offer its expression of limits of the subject and it’s here obituary.
Where I got to was the vase or chamber in which the lilies were decaying and emblematic. The amber context I got from the whites, pale yellows and browns. The amber is the amber of corn fields in which the wind blows and symbolised the dying raked from straw. The smell is intoxicating as the lilies give up their life as cut flowers do. The amber again is the aspic sign of plant forms in behind a glass framed cabinet elongated or in other places more formal with again memorial content. The lily is a relative to the aspidistra of many wartime communal front sitting room gathering to remember a family member whose life was taken and no body sent for burial. The aspidistra almost taking the place as it seems to suggest in Graham Dingles piece the already cut and now decaying person of whom this whole is for.
A tribute it suggests can be made after the style of the deceased or as an excursion of emotions surrounded by artifacts. On further thinking and continued consideration and I wish to go and revisit it, I find it extremely evocative of the crime of war, the irregularity, the disconnection, the disfiguring of the soul, the body rent of life. It is composed to build this formulation as an antidote to war.
When the flowers are – Eurydice – Edith Sitwell (I referred to it before in my last film review) says
‘Love is not changed by Death,
And nothing is lost and all in the end is harvest.’
They will be replaced. Everyday a child, woman and man is killed by war.
There are three. No exception likely ever until we return ourselves to God replacing hate with love.
The exhibit should be toured and placed in the joins between all wars and it has a derivation arising locally and in particular reference but that is the strength of the personal that it carries remarkably poignantly.
It seldom seems fitting to be holden to a memorial as in most cases they are less fragile and more direct in their delivery. When it becomes a cause for our concern through its immediacy or it’s greater and greater obscenity of human depravity it is necessary to, in lieu of reflecting through the God given emotions and life’s instinctive ness from the one source, these pieces are an act of courage and exclamation against lies and myths creating such wars.
The main gallery at the Mac , again an Upper level gallery, is below the children’s section. The children’s area and sometimes corporate recruitment hot housing days in the space is in a badly designed location.
It has no apparent staircase and no apparent means of escape in case of fire. It instead looks out from the ivory tower into the courtyard below with its gaudy po-regency fronts. Its rear backs onto the dual carriageway of Victoria Street, all car park and no design giving away its preposterous facsimile architectural conceit.
If ever two new buildings were juxtaposed opposites this would feature highly.
The upper gallery is an immense space with generous ceiling heights and well lit. It is evening when the opening of the exhibition of and sunlight has passed light is softly caught in the roof glazing openings set in the west side of the room.
Colin Darke : GROTESQUE MEDIOCRITY
That theory is contained in text is a theory; that it can be made pretty by transposing it on a medium that intensifies or subverts its meaning is superficial. The he superficiality of this work is that relation.
Possibly that is an avenue to be explored in this very large and handwritten version of Marx’s treatise, a small book on Bonepartes Revolutionary ideals.
So Colin Darke takes the bourgeois artifacts of the everyday. Fine China, White Fashion boots, highlighter pens, cutlery of the finest quality and de seminaries the books across the variety of objects into or is it out of, well in reads inward but you can never be certain. Rather tedious to read the book in this manner even if it is pretty and the handwriting is carefully and meticulously imprinted.
It struck me as having the ‘hallmarks’ of a Turner Prize wannabe exhibit.
Marx’s own middle class background affected his own outlook and the academic in him thought through theorizing on historical materialism.
The book in its beginning chapters and even from the outset call the 1848 revolution a recasting and playing out of Bonapartes revolution.
We are without any other context.
The subsequent revolutions which saw the end of monarchy and the Church’s hold over France is another story. In
Centripetal and Centrifugal
So why this one and told in such a way? I have no idea. It is another exercise in mortality. The centre is a disintegrating set of we are told 666 apples. He forgets the tragedy of the the first and that Engels said of the second revolution it was a farce the line appears on the first tiles but the meaning is unresolved through this piece. The mould of a spiral is always the centre.
What Colin Darke is creating is in fact the idiom of centrifugal politics. The Marxist theory, never expressed by him or subsequently through the so called Marxists is that it seeks a model of centripetal politic reform.
The prognosis of the book is that it again highlights the people are vexed with the economics and factors of that time the revolutionary instinct for radical change sets in is in fact Parker’s practical needs.
The liberal set we know today are in charge or so they believe though essentially they are in concert with the capitalist few in order to maintain a live above the proletariate.
Revolution Stall Holders
Under the socialist fusion of democracy and Marxist theory came a Jewish Socialist Leader, Leon Blum, who refused to join the Left Governments in 1924 and 1932, on the intellectual basis of denouncing any Communist led revolution for its failure to recognise the necessity to educate the people politically without which a dictatorship would arise.
An all important clear message that under the Claude Peguy expression, ‘socialism will be moral or it will not be at all‘.
He also perhaps recognised that the ‘imagination‘ of the people was a fantasy climaxing in the theatre of what in many countries are myth shaped marches and commemorations, the habit forming of attacking the Chamber.
The Veterans (nationalists and ‘Great War’ veterans) March of 6 February against the Third Republic was highly significant and marked the beginning of 10 years of instability. On Bastille day 1935 ‘Revolutionaries’ linked arms and marched in an orderly way down the Champs Élysées then were joined by a vast crowd from all parts of Paris. When it came to Government though the Communists they declined being a part of it preferring to (and destabilising progress) criticise and avoid any responsibility. Their position was strong enough to have the ‘ruling class’ – the Freemasons, propertied people, Factory owners become concerned and strikes ensued.
The reforms these obtained did nothing for the economy of France however and the German rearmament was to prove even more concerning.
The causes of Marxism and a new phase were subsequently hoisted by election into the programme. The ‘Popular Front’ with the communists having taken over the unions were seeking : Defence of Liberty, Defence of Peace, Economic Demands, these incorporating a forty hour working week, an employment fund with extensive investment in public works. International relations were a divisive element with the German rearmament under Hitler threatening all of the above.
Colin Darke is expressing in a grotesque form that theory which Marx’s cuts down his own revolutionary concept that need not ideas drive mankind.
Or something to that order. In Marx’s search for a system for all he takes the element of exchangeas the key ingredient.
What followed was a massive uplift in the capacity of mankind to produce through incredible advances in design and engineering; the location where ideas where the currency every capability was pushed culminating in a political act of landing on the moon.
What happens on this floor is pure grotesque bourgeois art canonised.
For it to be of an inconsequential book, even in Marxism is a poor outcome.
Marx and Newman
Francois Mauriac and others politicised France and led it collectively into the twentieth century which was also actually the cut off point for the pre-held grand order of art.
He said of Marxists that they forego the rendering of consciousness as dealt with, for example, by Newman in Apologia pro vita sua?
He even relates the most important thing of all which Newman famously raises, and raising it is, …’confirming me in my mistrust of the reality of material phenomena, and of making me rest in the thought of the two, and two only, absolute and luminously self-evident beings, myself and my Creator.’ Francois Mauriac uses this to show a large part of society has this philosophy or faith ‘fetichism’ which largely Markism extirpates is ever here. He realises the complexity that is ‘The Kingdom of God is within us’ and indestructible. Francois Mauriac despairs of the – (he says nothing of the other religions Sufism, Muslim, Judaism, others which constricts his thesis) – Protestant and Catholic ‘impossibility of communication between the two spiritual families.’ but he is fundamentally ‘prophetic’ as his time defined it.
Then he follows this immediately with the sentence which has for me summed up Marx and Newman.
‘I imagine Marx reading the Apologia, Newman reading Das Capital, and each heaving a sigh, amazed that any man should be so blind and so absurd.’
The projection being Marxists have refused to confront the that which every man born with and which Newman summed up in four words – ‘myself and my Creator.’
At that time the art world and creative talent of France became inward and self analytical to the extent new wave cinema and some elements of jazz – Einstein’s theory – became the principle higher means of expression. ‘I often think in terms of music’ and
‘As far as the laws of mathematics refer to reality, they are not certain, as far as they are certain, they do not refer to reality.’
Prettiness and Picasso
Prettiness with persistence only goes so far and in France it is signified along with the Marxist failures in perhaps one element. Picasso escaping fascist Spain brought his sense of art to Paris at a time when it had foregone the stimulus and direction as a centre of significance.
The Guernica piece being that recognition of all war. No artifice there.
This Upper Gallery is to have this work until October and it is not by any stretch anywhere near the attached hype surrounding it mainly postulated by the Gallery and not the Artist. It is a case of SO WHAT Miles once sowed.
Bicarbonate of Soda should remove the text and the letters can be reassembled to form a mist to then become part of another element.
The Ps2 space is a counterbalance to art that is a triviality and of inconsequential ideas presented with hubristic intent.
This time Rachel Campbell-Palmer has location and the perception reached through process that is repetitive, creating that place for each of us to inscribe in our minds, the effectiveness of the formulation conceived.
It is extremely and significantly embedded in the ‘construction’ task and the architectural outcome is the choice allowed by the constraints of site.
It is the same process undertaken to achieve all ‘good’ architecture.
As landscape architecture is dependent and this is both realised independently – inside/Ps2 – outside/people.
The fact is it is protected by the gallery walls and its containment which will bring little elemental damage.
Only the people will alter it.
It turns out – the methaphor of a cast mould – as a beautiful work. Never are each piece alike with the – in architecture and construction they are known as tolerances – specification of material and its method of casting being intuitive in the first instance, based on research and then in the act of using a cement mixer and creating each via, a mould. Terra Firma is a horizontal concept withstanding mountains which are adverse to buildings. It does not readily support human life forms.
The scale of the each element is perfect for the human to handle and the place. It is perfect in its engineering limits being neither over massed or slim to be in-durable. The diamond is capable of expressing width or length.
It is straight out of the move away from the orchard of design that dwelt in nature and of the machine contemporaneous structural forms which knocks influences, F.L.Wright Japanese, C.R.Mackintosh, Art Noveau, V.Horta, Naturalism, and previous decorative motifs into a consigned historical narrative with no value in repeating.
Those were of their time yet we continually see mediocrity emerge with all the collected misunderstood elements of the decorative age. I once worked on a project which was a lasting reminder of the Post-modern period which I dislike and like in equal measure. It was conceived in a global context with work concerns remodeling cities. Not a bit like The Titanic Building which I destest and detest in equal measure. Likewise there is an awful foot bridge in Omagh which defies beauty and design. It is a metalworkers dream.
I saw about twelve hard hats watch the ugly bow bridge being set in lace.
F.Leger ‘Purist’ once said ‘ when Renaissance artists began to paint their mistresses because they are beautiful, art was betrayed.‘
An argument of sorts but without free expression of those artists, patronized or not, we would without the beauty of those paintings.
It does not explain either how it relates to the prolific works of homosexual artists whose work more or less would not have been as involved in that arena and it is trivial to make that as a point for art to suffer.
Where Dadaists could not build they captured shapes and technology combining the place and people within their art.
Forms and Formula
The works of architects such Walter Gropius made connections of forms which were poetic and beautiful. Le Corbusier as well saw nothing new in art merely that machines could extend the composition of beauty poetical and rhythmically, a thing also recognised by Leger.
Vers une architecture by Le Corbusier collects a fusion of influential buildings and objects to produce his narrative of thought for the evolution of the forthcoming Modern Movement. More readily he would have used the analogy of DNA had that organisation of organisms been as prominent.
In my mind it, design and architecture, need be associated in this mathmatical way (health is a great element in his thinking) with the combination of geometric shapes always conscious of their visual appearance and foremost their functionality – the justified means.
Justified and Ancient!
That it seems, is the realm of Rachel Campbell-Palmers piece operates, in that it again uncovers that collective of beauty – the scale as I mentioned above being human, liftable, – plain and regular is beautiful and the act of that theory is measurable in people reacting to it warmly and delightedly.
The texture is variable! the constraints not pushed into it or by the factory process of production is also illuminating.
The bubbles of trapped air on some fully filled blockswhen cured appear as the Italian specialist plaster Marmorina.
The Venetian plaster Marmorina (the word derived I think from of or like marble: skin of marmoreal smoothness.) is a beautiful grained finish which again is seen by the artist as an expression of the process. I love the finish and its variations are very something sought over in many an interior.
This work is very well accomplished and is combining the relations sought imaginatively and almost as importantly, as well as any sculptor may have worked on a similar piece in a Smithsonian way.
I loved the work and it will prove up to the exposure to people as it welcomes and invites you to walk on it.
Catalyst Arts. Jonah King, Frank Wasserstein, Ian studio director.
The words spoken are below noted. They have others in between but for reasons of uncertainty, intended, I write those which appeal most.
One word was added. Rehearse. It replaces the actions of the third component The Gallery.
In order to use space created by the list I have written alongside some.
I have also not stayed on the discussion, taking each word as it comes outside of discussion to form my own narrative. This will also allow the artists an artist to use the Words as I give them for their own point of departure. It seems a natural way to act
REALM There I was in the room with an expectation of hearing of the work
REACT of Frank Wasser and Jonah King. The talk was begun by Frank.
WATER Font is needed by the writer of tales in text. A5 notebooks
QUEUW were never mentioned. Especially Fjall.
COMPLIANCE I wonder if I have complied. I have I believe.
VERB I have remained silent listened to every word. Johan has a
SEARCH ME subtext in mind.
OUTFIT Later a security detail will be deployed in the Gallery.
PALPABLY actors act the part. No one is suspected or targeted.
SEMBIOTIC I don’t remember the context. Maybe semiotic, signs.
UNIFORM Sembiotic is unreal but it comes from the
INVISIBLE vesicouterine pouch which is where semen is lubed
LONDON This is late rain is falling
MARINA Oh what happened
ABROMOVITCH lights the night sky which illuminates the
RAIN carpet of cut grass making up the soft spaces between
SERPENTINE lake the buildings cafe restaurant and paths
WAVESECURITY Bob. B. water spills and breaches are security on hand
INACCURATE Words cannot describe what just went on.
CURATE I take home a leaflet EX. It is white A5. 4no. A4 120gsm.
CRITICAL It appraises the work without becoming the main
EXHIBITION. words to be spoken of the collection.
PROJECTS. I hate the fact I miss the Nothing Happens. The
OPPOSITE Is true for some. Google your life to see if you have a
SLIM chance of survival without scrutiny by someone.
TEXT Definitely. I caress text. I adore words. They must have
REASONS to exist. Communication without the body is word based.
RATIONAL Sublimity overcomes subtlety sublimely.
UNDERLINED It simply does no need to underline.
STOP You notice a change from a dot telling you to finish
KURT Reading his dairies.
SANDYCOVE The walk is over past Nora and green snot. O’Casey.
COBAIN Is lost on an island
SLICE of torture fills inside veins
CUT knowledge comes with deaths release is only a song turn
NOT. writing but singing inside your head Einstein thinks in music.
COLLUSION Of the garden of Gods angels overcoming Marx.
ATTEMPT Thought, allow it in as truth
STATIC Lives do not exist. A Security detail has seen you standing.
INTERDEPENDENT Is the rule which must be satisfied so sex is
UTOPIAN Narcissism encroaching outside the body onto another.
EXCLUDES. hate and crushes complacency. All else is
ANTAGONIST born. Settlement will take an age.
EDGINESS Is a fear of the negative Jonah library of angst.
TENSION Is essential our bodies are elastic our buildings plastic.
RECONVIGURATION Happens to each individual and is sucked in to
REEVALUAAE ‘ted so much by others they say, lie its every generation.
CAPITALISM Is harmful. do no harm.
IDEAOLOGIES are a cornucopia of Utopias underestimated.
PUNK Is remastered rebellion in sonicses with copious drugs
JUBILEE. 2012 Is gone.
POP art never became mainstream so how is it popular art.
CHARTS of colour are handed out like chits giving access to emotion.
HOW. To acquaint your neighbours with Farrow and Ball
DIY is bricolage and cant.
MANTLE. Is a lintel in a wall over a fire
VOCABULARIES can explain things more clearly but use poetry.
JOY. begins with the wonder of children knowing nothing of our ways
DIVISION. Is a lane between the fields.
BEATLES negate the need for hardback books that
OVER. writers in exaggerated respect for the subject they wrote on.
TIME Is uncoupled from the past and future.
WORK happening without planning becomes waste.
BIG. Is not good an invention for self manipulation of Edmund Burke
SOCIETY which he thought empty.
FEED the hungry of all races and denounce war done in your name
STATE. meant truth but gave us lies
FASHION. A room into a domicile to escape the rain of frogs and
ULTRA. swings in climate and live close to soil that richness of earth.
ANARCIST Is really Anarchist but it is so like Antichrist I must
ARGUE. Christ is that anarchist we need believe.
WITHIN The word is the word. The word is like jazz the music of life.
RELIGIOUS. Apathy brings sectarianism and looses out on loving God.
MYTH replaces truth see F.Ni.Mh piece hanging at St Mary’s right now.
CHICAGO Is full of northern bigots despising southern bigots TOTALITARIANIBM Alister Cooke said much the same of this
ESCAPE From hype and rely on your own
POSITIVITY and when you learn to distrust
NEGATIVITY turns to a positive and a critical mass
TOOTHPASTE Only enhances the smile of realisation.
CHRONOLOGY is realising words have as numbers set relation only visible
WEALTH through reading will enumerate the
BUSINESS of communication while prose contains poetry in
ODD. inexhaustable fresh recognition making it a place of
FACT belonging outside reality with a mind to envision
RECREATE first in your mind
INTERUPTING societies reliance on regularity replacing
NOSTALGIC notions of culture. Culture is
BLACK without art. The
FLAG of the White Star hangs over our arrogance.
CONTEMPORARY art is full of resolutions on this
ART as distinct from that
MARKET which is our
NOTHING exists without God.
EX on Thursday 7 August opened with the escalating security piece Nothing Happens by Jonah King and I missed the experience entirely. It was to be the orderly of controlled space with the response of the viewer bearing the surveillance and tension of the presence of ‘protection’ of the almost empty space. It was intended to stir emotions of self infringement and the growing authoritarian elevation of security as an everyday fact. I am very disappointed not to have experienced this valued piece.
The above is opinion only it has limitations of access and monitors a reaction that is a personal reflection.
If it happens to fit aspects of your own views, literal and experienced it is very welcome. I hope you are inspired in some way.
The writing follows a night of consumption which was as a day full of unsettled weather. Elmore Leonard has a rule. Never start a book with the weather. It is impossible to avoid it as words are as amorphous as clouds.
The sun provides the light be it from the elements captured in the earth.
For ever and ever we gather light.
As the work of Graham Gingles reflects on the War Diaries of Robert McGookin from Larne his chosen title speaks of and is the strongest perceptive art seen to breach the minds boundaries. It is indescribable ultimately.
At times like these men where wishing they were all kinds of insects.
11 August 2014