The residency has become a space that invites the unexpected. We are not playing completely safe. We experiment with unfamiliar processes, materials and ideas. We do not follow separate linear paths. We become receptive to ‘spooky actions’. It causes a collision of ideas and events that break open new possibilities. All the time we are careful not to crack the glass envelope.
The envelope is a container for our explorations. It is a carrier of meanings that cannot quite be grasped, like a Japanese koan that challenges the mind through paradox. It deploys language to refuse language. It reflects our practice back to us. In the morning I facilitated an activity of marking with the breath. Lying on the floor with paper on belly, or directly onto the skin, the marks are made by the movement of the breath in and out. They are small humble marks, like little pieces of undecipherable text, doodles or scribbles. On the screen the marks might be any size and the significance of the smallness is lost. I have begun thinking about scale. The glass envelope is everywhere; it is vast and it is very small bits of data whizzing through the air. It has the illusory power to magnify and reduce. We control the size, but always restrained by the dimensions of the
What does the screen do to Sylwia’s pinhole images and paintings? How does it change the meaning of Sarah’s tactile, coded letters? We struggle to grasp or experience each other’s material processes until we try them ourselves, using the digital technology to enable collective physical, material exploration.
Sally Stenton
Marking with the breath
Sylwia Dylewska
Sylwia Dylewska
Svetlana Atlavina
Pragya Bhargava, Sally Stenton
Tataki Zome, Ean Nicole Konopnicki
Ean Nicole Konopnicki