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Jo Withers
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Jo Withers
Speaking in Tongues Beacon Art project March 2011 The four images form part of my ongoing dialogue with clay and consider my current enquiry into the visual and material language of the artist. There is one area of possible explanation that I wish to explore and that is the materials relationship to the entropic properties of the clay1. The material certainly endures various processes of transformation and I believe the Speaking in tongues enquiry addresses this. My personal enquiries I consider to be part of a far reaching study that leads to a greater understanding of meaning and interpretation2. With this purpose I have undertaken in March 2011 a performance of ‘Speaking in Tongues’ before a live audience; this experimental work has generated further ideas for investigation. 1. The entropic nature of the substances and the causation of the event lead to the temporary re-shaping of a form. 2. In applying procedures for an interpretation of Speaking in Tongues I am required to contemplate being in two states. Firstly, to consider the intent of the work through the asking of questions as to why, and what (for example) the work is about…this is normal practice and rudimentary. The explanation is simply part of applying a justification to the act and thereafter to be able to articulate the reasoning behind an action. The written text supports the reasoning and is the testament that both behind the action (‘behind’ as implied here is that thought and reasoning follows an action) whilst it is also evident the act is also premeditated. The second state is of equal importance and possibly requires the greater discipline, the act of not thinking. I am increasingly interested in the application of the still mind in the moment…a process of contemplation or psycho-upsurge. This is simply drawing upon the self to undertake an action in the moment…I am not certain at this point how much I rely on the body’s ability to increase adrenaline. 3. I am caught firstly as to how I describe the actions…are the actions an implicit (if somewhat a mild form) of a violent act? It is perhaps a too stronger word to describe the works ‘coming into being’…that is not to say the premeditation of the act has not started well before the first projectile is pinched off the lump of clay. The act is certainly purposeful and I could suggest it is a work of energy. The premeditated aspects, the placement of the materials and props as well as the act are part of the works condition. The only true moment is not I believe the point in which the first projectile is released but the subsequent ones that follow. In all likelihood the action of the first one is acted out in my mind time and time again. Action + Unknown possibilities = Results (The action undergoes a process of dissipation through a loss of energy...I use the term los of energy here in the sense that the loss of energy is merely temporary...providing the clay is not fired. The energy is to be found in the materials water content).
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Jo Withers
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Simon Withers
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Simon Withers
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Photo Credit: Jo Withers
Simon Withers
Speaking in Tongues, - 2011
20 mins
Clay
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Performance
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