Fairview

One corner in an upstairs bedroom in a cosy exhibition, generously allotted by two well organised recent Middlesex Fine Art graduates.

Many thanks to Giles and Matt and their (then) fine house.



Enamel and Oil painted panels, coloured rubble sacks and building sand. August 6, 2010




This was the first of this thing for me. There will be more in the future.

The helicopter had been static over what was probably Marble Arch for a while, throbbing, but as still as a fly on a great white wall. Then it came about, it's forward tilt and livid buzzing filling the park and bouncing off the towering green panels. The units of lunching workers, sun-bathers, exercisers and personal trainers seemed at the very least unperturbed, if not unaware.

It repeated this display for about an hour, drawing back with a disinterested feign in it's tail and a quieting of it's chopping, before again galloping nearer, the buzz and beating undulating lower and the drone becoming a coarse, thudding rattle.

Somewhere over in the lower-east part of the park, a segment of panels receded whilst in the upper east a few drew inwards by a few inches. A group of people clad head to toe in green bodysuits that unloaded from a sleek truck of the same colour, converged on a shapely hillock and seemed to stand in deliberation, silhouetted against the vivid blue of the sky. But from this far away nothing could be heard.

Upon exiting, it was only just noticeable that the corridors during the last weeks now led out on to a different length of Piccadilly. The previous location, though technically in the eyeline along the great boulevard, was too far away and had become engulfed in mist. Above, the billowing clouds towered fantastically like heavenly kingdoms painted on the ceiling of a great chapel. The smell of solvent was strong.

Afternoon

Conspiratorial Painting

The Park Plaza

The island itself was an accommodating complex of pastoral vistas arranged in a mall of levels. Paths and walkways guided lovers, amblers, daydreamers, and admirers through meadows and valleys, all about one third of their natural size, although from the carefully manufactured perspective available from the location of the viewers, it wasn’t always possible to tell. By the side of the neat concrete discourses litter bins like squat sentinels functioned as miniature blockhouses monitoring the spatial behaviour of the strollers. Ashtray, litter bin, canine excrement receptacle, surveillance device.

From week to week the routes and derives changed, divided and disappeared, diverting between new gardens and new canopies of lush trees. Developments such as enormous cool English Oaks, dense hallways of Pine, sweeping gentle bright green hills and distant blue mountains. Room-like enclosures, some small and private, some as grand as royal halls appeared and disappeared. The newly redundant areas quarantined behind bold fluorescent temporary barriers or taped off between two trees, razor cones blocking the way. Sometimes, the angular spines of unclothed hills were visible in the darkened construction yards of disabled sunlight behind the vegetation walls.

In the distance, one of the control towers was visible, located at the centre of a hazy thatch of forest. They were tasteful buildings of polished glass and dulled steel, curvilinear in shape and clad in part with stone coloured panels with the Park Plaza logo clear in the sky, mounted on the buildings upper floor exterior at intervals facing different directions.

Goldsmiths - Hamburg Hochschule fur Bildende Kunste exchange Part 1