Completed Paintings: 'space_time_03 [Perdu]' & 'space_time_04 [Memento]'

 

'space_time_03 [Perdu]', Acrylics, Paper Collage, Screen Print Fragments, Paint Pen,
Ball-Point Pen, Ink & French Polish on Panel, 300 mm x 300 mm, 2024

My creative energies mostly turned towards painting as 2023 turned the corner into 2034, and these little panels have been appearing relatively rapidly (by my standards). As a body, they seem to be serving as a kind of test-bed for various motifs, which will (I hope/assume) continue to evolve and mutate as more such pieces appear. Those layered motifs (and texts) themselves represent the numerous theoretical and emotional responses which emerge, along with subsequent (possibly quite arbitrary or capricious) associations, as I repeatedly haunt the same relatively overlooked corner of inner Leicester.

So far, so customary. This is essentially the same modus operandi that I've adopted for many years now. It is clearly what I do. And, as cartography continues to play an active role just now, any amateur sleuth with access to Google maps can easily detect that the territory under examination is still that portion of West Leicester traditionally known as St Augustines/Blackfriars. Bordered by the River Soar to the west, and the inner gyratory road to the east - and with Great Central Street and the ghost of a long decommissioned rail route running through its heart, this little zone is one to which I have been drawn repeatedly for longer than I can remember. Indeed, numerous posts on here can attest to that.

I suppose this might lead one to  suspect that things have all just become a bit stuck - or even that I'm (literally) raking over the same old ground with diminishing returns. And yet, these little panels (along with the slightly larger associated works from last year) actually feel surprisingly fresh to me, just as my own responses to the terrain continue to provoke and delight me. I think this is for two key reasons.

'space_time_04 [Memento]',  Acrylics, Paper Collage, Screen Print Fragments, Ball-Point Pen,
Paint Pen, Ink, Spray Enamel & French Polish on Panel, 300 mm x 300 mm, 2024

Firstly, the neighbourhood itself has undergone such massive transformation and redevelopment over recent years (and continues to do so), that it hardly resembles the same landscape I traversed just five or ten years ago. As a result, the possible narratives and emotional responses it may have one engendered are themselves continually refreshed. The strata of history buried beneath newly-laid tarmac and paving may prevail, but the present (and future) are up for grabs in ways that could not have been predicted when I first began to perambulate there. As the titling of these panels attests, space and time are inextricably entangled, and past/present/future all remain nested within each other in a multi-dimensional exchange.

The very processes of transformation, along with their associated memories (real, imagined and constantly emerging), are the real 'subject' of the work, as much as anything more specifically defined. The lines of the street plan may remain (relatively) stable, but the spaces and flows between them are where the real drama lies.

The second point worth making relates to that idea of continual flux - and in particular to the manner in which my emotional responses and thought-processes may be activated during/following any given journey along well-trodden routes. As work from a decade ago demonstrates, the key process remains relatively unchanged. Back then however, the use of found texts was often enough to elicit a kind of ambiguous frisson, with any further shoe-horned associations being perhaps a little 'route one' (in my mind at least).

Since then, my readings into such relatively pop philosophical ideas as Hauntology and Psychogeography have themselves led to the somewhat more elevated ideas around Situationism or the even more deliciously abstruse writings of Deleuze & Guattari et al. If much of the stuff at the apparent Philosophical 'top-end' remains pretty obscure to me, it has, I believe, started to liberate the nature in which my own thought processes flow around those cartographical delineations. Key to this are the ideas of trajectory and the 'line of flight', as well as the notion of rhizomes as the preferred model for explaining experience and knowledge to ourselves.

If the Situationist notions of the 'drift' and the city as an intellectual/emotional playground essentially validate my own humble activities, then it is perhaps D&G who point to more organic, less 'organised' ways of freeing the mind once immersed within it. Any point at which one's feet/wheels/lens/attention come to rest is essentially just a taking-off point for ideas and associations which may fly-off in a million different directions at any given time. These may themselves entangle with each other in a potentially endless complex of shifting nodes and new combinations. Coincidence, chance, tangentiallity, transverse shifts and apparent arbitrariness are all grist to this mill. Essentially there is only one map, and any pathway (be it neural or geographic) might ultimately connect to another - as we move around it in a perpetual state of becoming. In this context, perhaps one might traverse the entire globe, or simply the same small patch (through time), to much the same effect - providing one remains openly engaged.

Or something like that...

Derelict Mirror (Happy-ish New Year)

 

All Images: Central Leicester, New Year's Day, 2024

The festivities are behind us, and it's time to peer trepidatiously into the future. I can't claim this was the most uplifting of Christmas/New Year periods, being largely characterised by yet more school-borne illness and a seemingly endless procession of Atlantic storms. Thankfully, the virus has departed, but each subsequent extreme weather event served to both lower the mood and raise the water levels - to the point where my own neighbourhood here in Leicester was subject to a full-on flood alert for a couple of days. I can only hope the immediate emergency is abated, and that we dodged a bullet here (others have not been so lucky) - not least as moving valuables upstairs and taking midnight walks to gauge nearby river levels is hardly a relaxing or creative way to spend one's precious leisure time.

Nevertheless, the creative life is about adapting to events as they present themselves, not as we would idealise them. Even between seemingly interminable downpours, there have been brief windows of photographic opportunity, and the chance to grab a bit of much-needed two-wheeled exercise. If life gives you economic/political gloom, environmental collapse, climatic catastrophe, illness and despondency - then find an attractively waterlogged bit of waste ground to symbolise the mood - that's my motto. I've passed by this portion of nondescript, derelict vacancy many times, but this time the standing water and briefly atmospheric illumination transformed it into something actually worth documenting.

To be sure, it's the kind of bleak subject-matter to which I'm often drawn, and perhaps captures the exhausted and demoralised mood of this particular nation, in several ways. Nevertheless, there's no denying its obscure beauty and wealth of visual texture. To simply observe and document is at least to engage, and creative endeavour is ultimately its own reward. To extract stimulation from the least promising circumstances is a generator of hope - and thus a political act in its own right.

Who knows? 2024 might even see a (marginally) less dysfunctional government replace the current criminal regime. That's if we can avoid a slide into full-on populist fascism, of course, but for now - let's look on the bright side...