Sunday, 31 January 2021

Significant Yellow Item: #2021.Y003

 


Item #2021.Y003, West Leicester, January 2021



Amidst the tedium of catastrophe, an unaccustomed inconvenience supplies picturesque relief.

The city's whine of complaint cuts out - its interstices softly padded with granular white noise.






Distance becomes congested and the long-view contracts.  A possibility of compromised respiration hangs in the air.  Meshes fur-up and screens are occluded.  Stark traceries intervene 






Transactional movement runs down, even as activity increases.  A wholesale revision of familiar boundaries has revealed new grounds for refrigerated play; a landscape made interactive.

Consequently, new characters emerge to augment the populace.  In demeanour they occupy three main categories: the sinister, the comic, and the painfully timid.  Many are besmirched.









A vivid emblem is inserted into the monochrome field; an acidic splinter.  The situation has been Risk-assessed.  Your safety is my safety (bam!).  This portent of instability is strangely welcome.







Friday, 29 January 2021

Significant Yellow Items: #2021.Y001 & #2021.Y002

 


Item: #2021.Y001, Central Leicester, January 2021



  • A pair of closely-related golden portals, separated by a few scant metres, within the same parade of commercial frontages.

  • In each case, a palpable air of intrigue is generated, despite the presence of specific clues to the current (or intended) function of the spaces within.

  • Such clues can also be read as signifiers of frustrated (or deferred) intention, and active change of use, respectively.





  • Both items incorporate textual elements of particular interest - primarily:

  1. An Admirably Literal Descriptor (Item: #2021.Y001):  Note how the almost total objectivity of this legend is undercut only in respect of kerning.
  2. Phantom Graphics - Relating to Previous Function (Item: #2021.Y002): Whilst the city evinces many such palimpsests, it is unusual to witness one of such chromatic intensity.  What might the failure or disinclination to adjust the colouration of the frontage suggest, regarding short-term planning or opportunistic investment?

  • Whilst Items: #2021.Y001 & #2021.Y002 occupy separate physical premises [1.], the correspondence between their shared colour palette is so fortunate as to appear planned [2 & 3.].  In each case, uncompromising fields of saturated, primary yellow (possibly cadmium-derived?) act against cool neutrals and accents of reprographic cyan [4.].  Such juxtaposition might, in other circumstances, evoke vibrant energisation.  However, in current, interlocking contexts, the effect is rather one of despondency or tawdriness (or indicative of misplaced design decisions?) [5.].



Item: #2021.Y002, Central Leicester, January 2021



  • The issue of inversion is particularly relevant - notably, in the following respects:
  1. Chromatic:  In Item: #2021.Y001 a vivid yellow door radiates from within darker, neutrally-coloured surroundings.  This situation is reversed in Item: #2021.Y002.
  2. Geometric:  The overall composition of Item: #2021.Y001 plays out within a landscape format.  The door and associated surround are the only major vertically-orientated elements, within a wider framework of horizontally-inclined rectangular fields (certain small graphic elements being the only exception to this organisational principle).  In the case of Item: #2021.Y002, the overall orientation of the rectangular main components is vertical.  Here, a variety of subsidiary horizontal counterpoints can be found within: upper fan-light glazing and associated, vestigial signage framework (incomplete/damaged), letterbox and associated glazing bar, and respective individual window graphics and doorbell/intercom labels - to left and right of door (see also below).  Notably, each of the latter two categories are themselves organised within vertically-inclined boundaries.
  3. Occupancy:  Item: #2021.Y001 appears to be vacant and inoperative, being essentially in a state of either redundancy, or deferred occupation.  Both sets of premises comprising Item: #2021.Y002 exhibit overt or implied evidence of at least partial occupancy.
  4. Function:  The overall presentation of Item: #2021.Y001, and certain textual clues displayed within it, indicate its intended function within the hospitality/recreation sectors of the economy.  An associated sense of frustration and/or negation is consequently inevitable, within the current context.  Item: #2021.Y002 reveals a dual purpose - split between the domestic and employment related.  The separation between these two modes of activity plays out in the mirrored sequences of temporary-employment vacancy notifications, and resident idents, mentioned above.  Might they also be reunited around the problematic relationship between precarious employment, and the need to meet regular rent payments?







[1.]:  In the case of Item: #2021.Y002, the cyan features are technically applied to the neighbouring premises (see also below).  However, as these documentary images reveal, the overall visual relationship vastly outweighs any such technical considerations.

[2.]:  A coincidental conversation - conducted whilst documenting these items, suggests shared ownership of both enterprises comprised within Item: #2021.Y002.  Whether or not this relationship extends to Item #2021.Y001, remains unconfirmed.

[3.]:  The relationship between chance and intention (within the urban context, and beyond), is a subject whose parameters extend beyond the scope of this post.

[4.]:  Likewise: the relationship between the physically manifested and mechanically-reproduced aspects of the visual city. 

[5.]:  How often are the dual (contradictory) expressive functions of yellow witnessed within the urban environment?


Friday, 22 January 2021

Completed Painting: 'Untitled 10 (Constructed City)'

 


'Untitled 10 (Constructed City)', Acrylics & French Polish on Panel, 
300 mm x 300 mm, 2020

Here's the second of the small study-paintings, referred to in my previous post.  As I mentioned there, the numbering of these most recent 'Constructed City' paintings is a little out of kilter.  However, it's enough to know that 'Untitled 8, 9 & 10' were all produced pretty much concurrently - with '9' and '10' being initially envisaged as experimental studies - before becoming fully realised little paintings (and ultimately - Christmas presents), in their own right.




There's not much else to relate, really.  You can get the most coherent sense of development of the shared imagery, by back-tracking through my two previous posts, and viewing them in the order: '9', '10', '8'.  That way, you can see how the progressive injection of heightened colour and layered complexity operated upon a simple, largely monochrome prototype.






One last point of possible interest, is that the diagonally inclined geometric motif at the heart of all three of these paintings, was itself recycled, in enlarged form, from the earlier 'Untitled 5' & '6'.  Its translation across multiple platforms (photograph - digital manipulation - painting), and subsequent use, and re-use, are particularly characteristic of my working methods, in recent years.  My fascination with such processes continues unabated, and I suspect they will prevail in my work - for the foreseeable future, at least.







Sunday, 17 January 2021

Completed Painting: 'Untitled 9 (Constructed City'

 


'Untitled 9 (Constructed City)', Acrylics & Coloured Pencil on Panel,
300 mm x 300 mm, 2020


It's no accident this little painting bears a striking resemblance to 'Untitled 8'.  It essentially functions as a study  for that, larger painting - along with one other very similar small companion piece.  Indeed, I wasn't necessarily certain this would make it as a finished painting at all, when I started work on it. 




My numbering system becomes somewhat arbitrary here, for whilst all three paintings emerged pretty much concurrently, the two smaller studies were technically completed first.  Nevertheless, they do feel like subsidiaries, and certainly acted as a test-bed for the various techniques and overall approach they all share.  Once certain questions had been answered, and '8' was well under way, it seemed only natural to bring the two studies quickly to some kind of resolution too, as pieces in their own right.




During that process, and given their modest scale, it also occurred to me that the two 'studies' might make suitable Christmas presents for two close friends.  Thus, they were rapidly completed, wrapped, and delivered, as '8' was being completed.  So now it only remains for me to reveal '10'...








Wednesday, 6 January 2021

Completed Painting: 'Untitled 8 (Constructed City)'

 


'Untitled 8 (Constructed City)', Acrylics on Panel, 600 mm x 600 mm, 2020

'Untitled 8' is the next in my current run of 'Constructed City' paintings, having just sneaked in, under the wire as the last piece to be completed in 2020.  It's pleasing to what degree my productivity accelerated towards the end of what was, in so many other aspects of life, such a frustrating year.  





As the unimaginative titles, and common formats suggest, these recent paintings represent yet another of my customary series, at least nominally.  However, it does occur to me that there is perhaps a little more variance between individual pieces, in the manner of execution and general approach - at least, this time round.  That's okay, though.  I'm going to resist the usual temptation to over-analyse about such matters, and to just allow each new piece to unfold in whichever way feels most natural - for the time being at least.








In this case, the painting began with the deliberate recycling (at a larger scale) of one of the digitally-derived motifs from '5' and '6'However, whilst that is still just about discernible in the final image, the relative clarity of those earlier images was soon lost within a situation of increasingly layered complexity.  It seems that some kind of oscillation between a search for  distilled simplification, and an opposing tendency towards a degree of baffling intricacy, might be a general trend in these pieces.  And - if nothing else, that does feel like a valid analogy for the way in which unified architectural forms gradually emerge from a visual chaos of scaffolding, steelwork and interlocking planes, in the construction sites that trigger this body of work.  It's also worth noting that I'm pretty pleased with the way that any sense of figure and ground are pretty much subsumed within each other, here.






I suppose the renewed complexity here might feel like a slightly retrograde lurch back in the direction of 'Untitled 3', or even of some wholly abstract paintings composed of layered horizontal bands, from many years back.  However, it also feels like this is a much stronger painting than either of those examples.  A bit of progress is all I ask for, really.




Monday, 4 January 2021

S.I.T.E. (Midlands Chapter): Location Re-Port (M.)1.1



All Images: West Leicester, November 2020


Our records show reveal that the premises in question have been under consistent observation for at least two decades.  Initial identification of the site as being one of particular interest, actually appears to date from the previous century.  Whilst no specific date can be attributed to the first discussions on the matter, anecdotal accounts point to some time in the mid 1990s.  It also appears likely that the earliest formal observations were initiated from within the premises immediately opposite - which has functioned as a bar and restaurant since that period.  As is well understood, the partially engaged - but neutrally contemplative frame of mind, typically entered into whilst gazing through a street-facing window (possibly in company, and whilst enjoying some form of refreshment), is that in which our most fruitful observations are often performed.

For the purposes of this report, we have chosen to assume a date of 15 June 1995, as the nominal starting point for this particular site falling within our remit.  If, as is certainly possible, some awareness of the location predates that point in time, it is worth noting that a degree of unreliable recall often plays a constructive part in our work, generally. In any case, it is really only the actual moment of a building or other site 'revealing itself', with sufficient subjectivity for consistent observations to commence, that really matters.  As we know, this may occur without prior warning, even where pre-existing familiarity exists.  Whilst these moments lie at the core of our practice, it is also the case that they are not always formally recorded at the time, due to  the distracting nature of spontaneous recognition.  The attachment of some arbitrary date retrospectively, thus becomes a necessity, in a surprising number of cases [1.].



Unusually, for a site under such long-term scrutiny, the images accompanying this report appear to be the only ones available, and have been collected relatively recently.  As they show - the location is subject to the kind of exclusion zone to which we have all become accustomed in the current climate.  Exactly why no earlier photographs were taken, is uncertain, and one might rue the lack of accompanying metadata which might have facilitated more accurate dating.  However, it is important to note that, as the use of digital photography was not part of our process in the era of our envisaged start-date, we would remain dependent upon the accompaniment of an accurate manual record - even were contemporaneous images available.  As it is, we must be satisfied with what little visual evidence we have in this case, and in the absence of more - be prepared to take at face value the reported impressions and accounts from memory that are available.  As noted above, the inherent subjectivity such accounts may engender, may actually prove to be of more use in many respects.

What is notable, is that the premises appear to have remained relatively unchanged, to all intents and purposes, throughout the entire span of our observations.  One can only ruminate upon the general processes of entropy which may have exerted themselves over the fabric of the building during this extended period.  A degree of wear and tear is inevitable - if only from the effects of weather and materials break-down alone, regardless of any direct human intervention which may, or may not have occurred.  In this case, however, no such human activity has ever been observed, making inertia and stasis the key characteristics of this particular location.

Furthermore - as can be seen, the building itself reveals very few clues to either its original or current function.  Whilst the frontage is typical of commercial or retail premises, with large display windows to either side of the entrance door, it offers no information regarding any specific business, or other activity, which may have been carried out within.  Identifying and/or metaphorical signage are both notable by their complete absence, and the dilapidated paintwork is of a nondescript brown colour which almost seems designed to disavow any cultural association with a specific trade or generic enterprise.  The profoundly anonymous aspect has remained intact over the entire period of our involvement with the location.

It is true that, in the past, certain speculations have arisen - based on claims of a palpably 'funereal' aura emanating from the site.  This impression is perhaps magnified by a degree of discretion suggested by the matching curtains (partially water-damaged) veiling each window.  However, it is our current opinion that the 'shop' frontage possesses neither the scale, implied dignity or vestigial grandeur one would normally associate with a typical locus of the undertaking trade.  If the presence of a prominent extractor-fan unit in the glazed panel over the door might suggest some association with food retail (or possibly catering) - no other clues are offered that might reinforce such a connection.  The glazed tiles one might occasionally observe on the frontage of such food-related outlets are notably absent here - with only featureless (faux?) granite panels occupying the spaces between windows and pavement.  Again, no specific attribution can be made from the evidence available.



As can be seen, the only remaining details worthy of note at this stage, are the prominent alarm unit (with associated window alerts), and a few miscellaneous items - dimly visible beyond the (un-curtained) upper window panes.  The alarm system (clearly post-dating the construction of the premises), affirm that this site, or at least something held within, remain of value to some individual or organisation.  Such an observation might even lead to speculations about someone or something 'hiding in plain site', if viewed in a sufficiently oblique light.  Unsurprisingly, the aforementioned visible objects offer little by way of obvious connections or any coherent narrative.  What might initially resemble some form of modestly decorative frame, appears, on closer scrutiny, to possess a somewhat more functional quality - not least once the gridded nature of its central aperture is recognised.  If it is - as appears possible, a component of some larger assembly, our attempts to identify the exact nature of this remain unsuccessful, to date. What does seem likely is that the object may be designed to permit the communication of air, heat, sound, or some other equally ethereal manifestation [2.].

Also visible in the right hand upper window, is a portion of some equally unidentifiable wooden item.  Reminiscent of some piece of dated furniture (or part of), this object betrays a mildly decorative aspect - in the form of its arched moulding and pattern of parallel, slots.  It also betrays considerable dilapidation.  First impressions have suggested this item might in fact be some item of furniture; a folding chair of some outmoded design, in particular.  More detailed study raises some doubts in respect of this - relating not least, to the modest scale of the object in question.  Such a chair (were it to be such) would be suitable only for a child, one imagines.  Certain questions have arisen regarding how these items might be supported.  The most likely explanation might be that they are positioned on some form of display shelving - the phantom shapes of which do appear visible behind the main window curtains.  This automatically feeds back into our speculations around what manner of merchandise might once have been arrayed upon them. 

However, such practical considerations have done little to stifle the line of free-associative thought which stemmed from the initial notion of the wooden object as part of a chair [3.].  in certain quarters this has even led to speculation around the premises having been - at some stage, the venue for some kind of assembly, perhaps of an occasional nature.  Despite any more coherent evidence for this (or perhaps because of it), conjecture has even arisen that such meetings might have been of some esoteric, or even occult, nature.  If such fevered imaginings are attributable simply to the palpable lack of any contradictory clues at the site, it should be remembered that this is exactly what brought it to our attention in the first place.  Consequently, we choose to keep an open mind regarding such matters, at least for the purposes of this report. 



Finally, specific mention should also be made of the remaining group of items visible through the upper windows to the left-hand-side of the frontage.  Although most clearly discernible in visual terms, these are also the hardest to identify.  Seemingly comprising four stacks of strangely interlocking, scalloped elements of ring-like formation - they resemble nothing that has previously been observed at any other site.  That the objects appear to be constructed of card (or perhaps some plastic material), suggests the possibility of their being some form of reinforced, self-assembly packaging material.  Exactly for what, however - remains a mystery [4.].  One alternative suggestion (rom the same source as the 'esoteric assembly' theory, alluded to above), is that these almost 'crown-like' items might constitute a variety of ritual headgear associated with such a congregation.


Conclusion:

Whatever the real conditions or circumstances relating to this site may be, there can be little doubt it represents one of the most intriguing in our current catalogue.  it is our recommendation that the premises remain under observation - without time-limit, and that any significant findings or theories relating to it, be included in future reports.  What does seem undeniable, is its status as a distinct lacuna within the commercial, recreational, or psychic activity of the surrounding street.  as such, it clearly has the potential to represent some portal or egress - of exactly the kind to which our organisation has chosen to identify and exploit.   






[1.]:  Current thinking on the subject suggests that, in many cases, this may actually be a strength - rather than mere evidence of sloppy record-keeping.  Certainly - as is generally now recognised, an acceptance of the flexible and relative (as opposed to reductively linear) nature of time is key to our activities.  In this context, the recording of specific dates, whilst nominally instructive, may also be regarded as something akin to dropping sticks into a flowing stream, (or perhaps - marbles onto a blanket).

[2.]:  Such oblique speculations are, it goes without stating, to be encouraged wherever deemed appropriate.  We welcome any future attempts to join such dots as may emerge from continued scrutiny of this site.  Any such theories - deemed to lie within the stated parameters of our wider project, will be appended to future drafts of this report.

[3.]:  It seems pertinent to remind ourselves here, that (often mistaken) first impressions (and the often highly fictional narratives they may provoke), are as important an aspect of our work (if not more so), as more considered research - carried out in a less subjective frame of mind.  Clearly, we should remain vigilant to the danger of our activities from degraded by mere 'facts', whenever possible.

[4.]:  Suggestions (however fanciful), are obviously invited.