A Series of One-liners, 2024–ongoing
Embroidery thread on 10 count embroidery canvas
96cm x 96cm unframed
c0de to Home: A Series of One Liners as a constellation installation in conversation with Steve Dutton
Proposed Title: We Are Only Partly Real
c0de to Home Series (left), 2024-ongoing, Forrest-Beckett
0n the Equinox (right), 2021-2024, Dutton
Having a shared/overlapping focus on the mattering and patterning of language and data, and the breakdowns, gaps, fissures and ruptures which characterise this mattering within human verbal, textual, semantic and idiomatic communications, we do not see ourselves as a collaboration but as two artists in conversation through our work. Within this conversation there are aspects of potential miscommunications, slippages, mistakes and the production of malapropisms which we understand as being the most productive element in the production of art.
WORDHOLE (left), 2024-ongoing, Dutton
Google-Mapping (top right) 2024-ongoing, ‘Goggly’ eyes mapping the alternating links of the Borromean object Closed Curves (bottom right), 2024-ongoing, Forrest-Beckett
Following a joint visit to the exhibition “Amour Systémique” in Cpac in Bordeaux in early 2024 , where the motif of the grid was explored as a “façade of neutrality and silence” and in which “as a motif, it is unmediatedly ideological — an antinatural symbol of order, it constrains rather than liberates”, we have been developing conversations and propositions which focus on the collision of what might be considered language bordering on glossolalia, xenoglossia, hysterical, erotic, and paranormal/magical against the so-called constraining, rational, antinatural, anti-humanist, ordering qualities of the grid.
The interruption of dreams (top left) 2023-2024, Dutton
c0de to Home Series (bottom left) 2024-ongoing, Forrest-Beckett
The work is a score performed in the mind, Ghostly Friend (right) 2015, Dutton
In short, we are working with linguistic forms and references which exceed themselves and their containing structure (grids, sentences, utterances, spreadsheets) and to suggest, in which, they consider to be a 3rd ( 4th, 5th, 6th ) form of language which is neither mute, silent and unintelligible, nor intelligible, meaningful and sense making, but constitutes new patterns and constellations of things approaching sense and retreating from sense systematically in the form of an affective linguistic event.