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. 



Thursday, 31 December 2020

Inundate (HNY)

 


All Images: West Leicester, December 2020


On the following day, the deluge abated.  Plummeting temperatures quickened the senses.  Crystalline illumination filled the city - sliding across sodden concrete and slick tarmac.  A high-contrast mirror zone assembled itself from polygonal sheets of white light and tessellating wedges of shadow - a world become polygonal and facetted.   






Catastrophes can operate at differing scales.  Down here, some micro-event may model multiple macro crises.  A shimmering metaphor inverts the familiar.  A subtracted portion of the norm requires careful negotiation.  Measures must be taken; restriction - imposed; ad-hoc precautions - carefully followed.  The lower reaches are littered with hastily-assembled emblems and beacons - inviting cautious interpretation.  A conical depth gauge is improvised, and direction attempted.  We might wadethrough the implications.  "When will they ever fix this?" - a question casually imparted through a dropped window.  A moment's hesitant assessment - prior to the submersion of brakes.  A wake settles over extended minutes; a surface is reinstated.









Some remedy may yet emerge.  This route is not yet abandoned, and can be restored.  Habitable territory may be reclaimed.  The decline lies in the shadow of dank cliffs, but the up-ramp forms a bright elevator.  Light inundates the upper level, even as water has below.  Down here we stand at a corner of time, and new traditions must assemble as days extend from this point.


Happy New Year.     



Tuesday, 29 December 2020

Pretty, Vacant 7

 


All Images: Central Leicester, December 2020



This piece takes the form of a meticulously-assembled diorama - describing a section of unspecified, post-catastrophic urban territory.  The piece is largely constructed from modular, architectonic elements, which form the stable, orderly grid on which the city is established.  Individual components have been organised within envelopes of standardised dimensions and format, to create an arrangement of blocks, segmented by the network of communicating channels and pathways running between them.  






At the lower levels, we see that this basic structure appears relatively stable.  However, as our eyes travel upward, we observe how forces of entropy, disruption, and 'problematic events', increasingly serve to randomise a once-orderly scene.  Our gaze travels across the details of a chaotic terrain of scattered fragments and churned debris.  The networks are broken; the grids - destabilised.  We witness the breakdown of boundaries, the bursting of perceived containers of civilisation, and the resultant dispersal of the previously ordered contents within.  Amongst the already familiar components, we discern how elements one might regard as unrelated (or at least peripheral) to he city's overall formation, are pitched into the mix.  The new interactions thus created are both unfamiliar and disturbing, and we can only guess at the new situations of disquiet playing out in their shadows and concealed recesses.





Cleverly, this scene has been designed to be viewed from multiple viewpoints.  The play of our own perceived reality across the immediate glazed surface leads to inevitable reflection on the relationship between what lays both within and without.  However, we should also ensure we take in the view beyond too.  Seen in this manner, and from certain angles, a potentially perplexing scalar continuity between interior and exterior features emerges.  The separation between depicted events, and our own 'situation' (macro vs micro-crisis) becomes harder to discern.  Ultimately, we are invited to consider whether this exhibit presages events to come, or constitutes an instructive diagram of the mechanisms of disaster, and a model for their effective negotiation.  A third possibility, of course, is that the piece simply represents another, stylish episode of post-apocalyptic [1.] spectacle, of the sort to which we have all become addicted in recent years.



[1.]:  An oft-misused terminological impossibility - as should surely be recognised at this stage.  The degree to which our culture now recycles escapist visions of its own collapse, is clearly of direct relevance here, and a matter worthy of discussion elsewhere - no doubt.




Thursday, 24 December 2020

Light Relief (Season's Greetings)

 


All Images: December 2020


This year (of all years), it feels only right we should shelve irony for a moment, and take whatever pleasure we can from the simple things - like cheery coloured lights.






Have the best Christmas possible, everybody.




(With thanks to Woolaton Hall, Nottingham, and to residents of Thurmaston & New Parks, Leicester - for making the effort).






Wednesday, 23 December 2020

Pretty, Vacant 6

 


All Images:  Central Leicester, December 2020



1:  What is the true relationship between consumption, control, and preservation?

2:  Can you have your pudding, until you've received your just des(s)erts?
  





3:  Does the unusual and fortuitous conjoining of multiple favoured motifs promote unification,           or multiply complexity?

4:  How might meaning and serendipity intersect?





5:  Are some monoliths hiding in plain sight/site?

6:  Do Ghost Sentinels exist?




Saturday, 19 December 2020

Unboxing 3: Dangerous Goods Manifest

 


Leicester, December 2020



There's probably a limit to how many of these workplace-derived 'Unboxing' posts I can belabour you with - at least without a bit of creative manipulation of the source imagery.  Nevertheless, I remain deeply attracted to the honest simplicity and truth-to-materials of the honest brown cardboard box, and to the emblematic symbology and potentially allusive texts which adhere to them.  These particular examples were especially 'thrilling' as (unusually), they contained a potentially hazardous chemical, and demonstrate the double-boxing, stern, graphic warnings, and 'Dangerous Goods Manifest' attendant on such a deadly cargo.  For the record, the product in question was a single bottle of Isopropanol - hardly plutonium, but at least: no couriers were harmed in the making of this blog post.






As soon as I have unpacked such consignments, the boxes generally get casually stacked in the corner of the classroom - awaiting recycling.  Even at this scale - with only two elements of modest scale, a distinctly totemic quality begins to emerge.  Indeed, I'm reminded that this is exactly how the format of 2018's 'Sentinel' sculptures originated - almost by accident.



'Sentinel' Sculptures, 'Visions of a Free-Floating Island', Surface Gallery, Nottingham,
September 2018






Perhaps there may be some tentative connection between those pieces, and the spate of mysteriously emerging monoliths, at various international locations, a couple of weeks back.  The reporting of those (beginning with what may have been some kind of oblique art-prank in remotest Utah) appears to have dwindled already.  That makes me think the whole thing was little more than an online meme that failed to really catch hold - particularly as the vaguely unworldly examples at a handful of locations, were joined by reports of a puerile, and far-too-representational, phallic example in Germany.  I suspect we'll soon file the memory of 2020's monoliths away with crop circles, and the like (if we remember them at all).  It does emphasise the enduring fascination of totemic, columnar forms, in the human imagination, nonetheless.





Meanwhile, the primordial urge to stack up cardboard boxes; well, that's something altogether more profound - clearly.




Monday, 7 December 2020

Completed Painting: 'Untitled 7 (Constructed City)'



'Untitled 7 (Constructed City)', Acrylics on Panel, 60 cm x 60 cm, 2020



Here's the latest of my 'Untitled (Constructed City)' paintings.  It's the seventh in the current run - and the third to be developed from purely digital origins.  One can always see things one might have done differently, but I think I'm reasonably satisfied with it - for now, at least.  As ever, it will take a while to make any kind of meaningful judgement about that.  Luckily, there are two more currently in progress.  Attention can shift immediately to them, while this one settles for a while.  






There are a few technicalities possibly worth noting. The image is distilled from two superimposed photos of emerging buildings in the skeletal, steelwork phase of their construction.  As with the two preceding paintings, the main formal concern is to achieve some kind of dialogue between negative and positive shapes/spaces.  The degree of abstraction is pretty far advanced here, but with just enough specific detail to tentatively recall the original subject.  I'm pretty happy with the largely monochromatic palette - and with the fact that those fleeting accents of red and yellow relate to the primaries often found on construction sites (being actually fluorescent colours, in this case.  I think the inclusion of silver possibly works better here, than in '6', although - as ever, one can only really judge that by observing the play of light on the actual piece.  Pretty obviously, it makes some reference to the metallic sheen of various materials found on any construction site (although the steels themselves are generally painted). 






One last point worth making, is that this image appears to move a little closer to a state in which it could be read in either the vertical or horizontal plane.  That seems important, given some of my previous observations about how many of these major new buildings fill in both sections of the visual skyline, and sections of terrain, as plotted on a map.