The Dissertation Series, in its second cycle sees the poet respond to Degree Show Open featuring Various Artists graduating from their BA (Hons) Fine Arts at University of Lincoln, Greestone Center, Lindum Hill - Lincoln, May 2007
Real to Reel
A sense of refined chaos, as if your fathers jam jar, full of screws and nails and picture hooks had been scattered on the floor, over an ordnance survey map of Lincolnshire and beyond
There was a plan, and a classy catalogue
Even so, as an exercise in disorientation
It was fabulously successful
Guys in high leg turned over leather boots
A sop to the roundheads
Or the cavaliers
Street scenes layered with a palette knife
To lift the slippery sloppy pavement
From the oily doily canvas
Unreeled cassette tape is nailed to the wall
A loop-less but continuous story
With the obligatory I don't give a fuck
Most days I would try to write a poem; it is a practice, as I suppose is meditation, or smiling, or watching the world go by
Monday, 28 March 2011
Sunday, 27 March 2011
Artistic Motivation - Self Portrait
The Dissertation Series continues its second cycle; the poet responds to WE THE MODERNS featuring Henri Gaudier-Brzeska at Graves Art Gallery - Sheffield, April 2007
Self Portrait
Reds, browns, yellows, oranges, greens
Cream, did you say cream
These were your colours were they Z-B?
Modigliani, Matisse, Alexander Archipenko
Auguste Rodin, Rodin did you say
And these were your eminent contemporaries Z-B?
I step sideways besides a Giacometti
Forwards, there a Pablo Picasso Tête de Femme
Sideways Giacometti, straight ahead Pablo Picasso
Slow down, stand back, take a breath
At the entrance, on the wall - a self portrait
The pastel chiselled features of a most attractive younger man
A short life, she the second part of your name
A woman almost twice your age, such life in a short life
Home thoughts from abroad, in your own self portrait
Context: Your contemporaries live forever
Pretext: The war came, you never…
Self Portrait
Reds, browns, yellows, oranges, greens
Cream, did you say cream
These were your colours were they Z-B?
Modigliani, Matisse, Alexander Archipenko
Auguste Rodin, Rodin did you say
And these were your eminent contemporaries Z-B?
I step sideways besides a Giacometti
Forwards, there a Pablo Picasso Tête de Femme
Sideways Giacometti, straight ahead Pablo Picasso
Slow down, stand back, take a breath
At the entrance, on the wall - a self portrait
The pastel chiselled features of a most attractive younger man
A short life, she the second part of your name
A woman almost twice your age, such life in a short life
Home thoughts from abroad, in your own self portrait
Context: Your contemporaries live forever
Pretext: The war came, you never…
Saturday, 26 March 2011
Artistic Motivation - Craft
The Dissertation Series, second cycle, takes the poet to react to art and craft combined, at the Seeing Dragons Exhibition featuring Nora Fok at the Harley Gallery - Worksop, March 2007
Craft
Mind concentrations sat aloft the stand
Obsessions foraged from the land
A thousand seed reductions are given to the need
The Million Dollar Collar by-passes inner greed
Craft
Mind concentrations sat aloft the stand
Obsessions foraged from the land
A thousand seed reductions are given to the need
The Million Dollar Collar by-passes inner greed
Friday, 25 March 2011
Artistic Motivation - Misinformed
The Dissertation Series second cycle is in Spain at The Curve of Destiny Exhibition a poets response to artwork by by Jesûs Mari Lazkano, Guggenheim Museum - Bilbao, March 2007
Misinformed
Why do we need to explain, why do we need to intellectualise? Why do we need to say more about the art, than does the art itself? Does then the explanation become the significant part? Does the explanation, well presented, become the main event?
On the big screen
In the side stream viewing booth
The power of the moving image
The force of multi-media
A darkened space, a mood
A voice with timbre & only
A chosen number to view
No book
No guide
No historical perspective
Outwith of the one performed
For the indiscriminately invited patrons
Understand it my way seems to be the message
Or do not begin to imagine that you understand it anyhow at all
Misinformed
Why do we need to explain, why do we need to intellectualise? Why do we need to say more about the art, than does the art itself? Does then the explanation become the significant part? Does the explanation, well presented, become the main event?
On the big screen
In the side stream viewing booth
The power of the moving image
The force of multi-media
A darkened space, a mood
A voice with timbre & only
A chosen number to view
No book
No guide
No historical perspective
Outwith of the one performed
For the indiscriminately invited patrons
Understand it my way seems to be the message
Or do not begin to imagine that you understand it anyhow at all
Thursday, 24 March 2011
Artistic Motivation - Shadow Machine
The Dissertation Series continues its second cycle of a poets instant responses to art at the Abstraction - Extracting from the World Exhibition, Millennium Gallery - Sheffield, February 2007
Shadow Machine
Tick tock - stop
Please everybody slow down
Let's begin with a whisper
Tip - top, slow-down, stop
A pin point balance, rocking to and fro
The metronome swings towards home
Its shade travels ever so slight behind
For now it is the afterglow
Shadow Machine
Tick tock - stop
Please everybody slow down
Let's begin with a whisper
Tip - top, slow-down, stop
A pin point balance, rocking to and fro
The metronome swings towards home
Its shade travels ever so slight behind
For now it is the afterglow
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