I saw the top of a blue plastic bag poking out of a hole in a large hollowed out tree trunk, upon closer inspection I saw how humans had been stuffing it full of rubbish to the point a plastic bottle had even fallen out the other end. The trunk was bursting at the seams with litter. It made me think about the potential for objects to be stashed in crevices and how in this instance the tree serves a new function. One that is at odds with its natural reason for being.
I have been watching tutorials recently on making improvised birdhouses and I like the idea of making something that brings solidarity with the non-human to the foreground. Objects that sink into their surroundings, situated in places to avoid human contact and offer comfort and shelter. I hope that these objects become all kinds of things to all kinds of beings, a landing strip for a fly, a pit stop for a squirrel, a nest for a bird or a surface for dust and dirt to collect on.
The sun had just gone down and the park was quiet except for the distant bells of the park ranger signaling it was time for all to leave. I sized up a premium log from the freshly cut tree and lifted it hastily, it carried more weight than I thought and the bark scraped my hand a little. The log is coming home, to be worked on, then after some time will be returned to the park. The install will take place under the cover of darkness.
Oh you, you, you haven’t heard about the wings of chadwick road?
Well this is an ode, an ode. That’s right,
two cerulean wings laced up to the sky.
You used to be able to find them in the night, out of sight,
illuminated by the car headlight.
This is an ode to the wings of chadwick road,
two cerulean wings vanished and everything that came with them,
Obliterated into glittery dust.
I cycled on my bike looking for them,
two cerulean wings haunting me.
This is an ode, an ode to the wings of chadwick road.
‘Bridgehouse Souvenirs’ acts as an archive to objects found in Bridgehouse Meadows, Lewisham. The record of this site-specific gathering operates as an ethnographic collection and an exploration of hierarchy.
The relics are valued for their specific aesthetic intervention in the area as well as their residual history. Each memento questions an object’s ability to simultaneously retain its status as democratic and display its newly attributed value from the archival setting.
‘Scrap for Parts’ is:
A monument to pending messages.
A comment on distanced contact.
A friend to visit or call.
A form that manifests over time.
It is also an evolving installation based in the windows of a disused shop unit in Deptford, South London.
Responding to an existing heap of untouched mail gathering inside, the site will act as a cumulative depository for patchy exchanges of stuff leftover and contact attempts. The work will play out in ‘Parts’ via posted material and voicemail.
‘And just as they seem to be occupied with revolutionizing themselves and things, creating something that did not exist before, precisely in such epochs of revolutionary crisis they anxiously conjure up the spirits of the past to their service, borrowing from them names, battle slogans, and costumes in order to present this new scene in world history in time-honored disguise and borrowed language.’
– The Eighteenth Brumaire of Louis Bonaparte. Karl Marx 1852
In Given & Transmitted, the words of a long dead man exist within an ecosystem of irrelevant posters, severely damaged since the beginning of the coronavirus pandemic. There are no punters, there is no event, the hotline has gone cold.
‘The events of human life, be they public or private, are so intimately bound up with architecture, that the majority of observers can reconstruct nations or individuals in the full reality of their behaviour from the remnants of their public monuments or the exhibition of their domestic remains.’ 1
I’m interested in this human placement of objects in public space – a conscious decision to not directly litter, thinking of creative solutions against dropping something directly onto the floor. The best example off the top of my head: a snickers wrapper cable tied to a fence in Wallsend.
-Treating these discarded, broken, used materials with sensitivity, care, support, allowing them a new energy.
-Adding value or poking fun at ideas of value.
-Objects performing themselves, living out their purpose, being reassigned a purpose, becoming part of the detritus of objects.
Detritus of objects
Thinking about non artists interventions in public space all the time:
Creative littering or discarding objects in a way which interacts with permanent fixtures, an empty drinks can pierced onto a fence post, a used wrapper cable tied to a pole, cigarette ends filling up holes in stone.
Local haunts aims to encourage these interactions with public space and think about how we can interact with something in our street, or how that can interact with us hopefully creating moments of curiosity and contemplation for people in passing.
The Project will run through July, across seven different locations in London, works will change for various reasons. (weather/public interaction), works will be documented throughout the project to record change.
1 Honoré de Balzac, The Quest of the Absolute
2 iPhone note, 23/04/2019.