Spectro Gallery, Newcastle-upon-Tyne, U.K. 1982.
Circle: Pigmented sand; carbonised wood; pit fired earthenware vessels (x8) (35cm dia); carbonised grain; seabird skulls/bones; metal blades; Polaroid photograph.Section 2.
Canoe: Steel and Weldmesh framework; clay; straw; steel wire; glass and mirror fragments (x8); Polaroids and associated negative waste; strip lights 40w. (x8).
Tents: Wood; bitumen paper; bitumen paint; steel wire; tin cans (clean and carbonised); carbonised books; steel rods; copper wire; audio equipment with tape loops (x3).
Section 1. 3m diameter.
Section 2. 6m x 1.5m.
Section 3. 3.6m x 1.8m.
Total Installation 12m x 3.6m.
A sculptural installation in which a ceramic ‘canoe’ links a ritual circle of pottery shards with a series of tar and bitumen covered shelters surrounded by carbonised detritus. The canoe as vehicle, rests in this metaphorical landscape through which humankind must progress.
The installation as a whole has available literal reading(s), utilising the directional nature of the vehicle as a pointer in time and by recognising the references to cultural and ideological processes.
However, any such initial reading operates as a “lowest common denominator” in the generation of meaning; my ultimate aim being to deny any single interpretation; this being achieved, in part, by baulking at the representational or symbolic mode in construction and presentation.
My personal term for such a construction is a “Meta-Landscape” and this characterises the way in which I intend the work to operate as a series of associated and interdependent metaphors, which ideally begin to form a matrix or field of meaning; a process which I feel is similar to the gradual building up and assimilation of material experienced whilst reading a novel.
In a metaphorical landscape rests the vehicle; for thousands of year’s humankind has travelled with it over this material surface. Between peak and valley floor; shoreline to shoreline; whilst in sleep or in trance it has voyaged to dream worlds, spanning Heaven and Earth; cage to Utopia; it is our means out of; our means back to.
© Nigel Helyer 1982
- Tracing Silence; Ecocide and Omnicide.
- The Sound of Place; Environmental Artworks at Bundanon.
- Co-Composition and De-Composition Biological agency as a compositional tool.
- Sonus Maris
- Oratorio Photo Essay
- Oratorio and Heavy Metal
- The Oratorio for a Million Souls
- Two Islands
- The Deluge Ark(ive)
- A Dissimulation of Birds
- The Biological Mixer
- Heavy Metal
- CultCult – audio illumination from the Ocean
- BioLogging Retrofit
- BioPods_V2 The Nebuchadnezzar Suite
- Eine Kleine GeneMusiK
- Songs from the UnderWorld_v3
- Architecture for Bees; Bees for Architecture
- Breathless; Take a Deep Breath
- Public Art concepts
- Ars Memoriae Mexicana
- Float like a Butterfly; Sting like a Bee
- Supereste ut Pugnatis (Pugnatis) ut Supereste
- Songs from the UnderWorld_V2
- WYSSA – All my love darling
- Songs from the UnderWorld
- Milk and Honey
- Weeping Willow
- Bio_Logging and Under the IceCap
- New Host_V6
- Law of the Tongue
- New York Drawings
- Zephyr II
- Run Silent Run Deep
- Sculpture in the Vineyards
- WA Marine Facility ~ Ondes
- Quint de Loup II
- The Wireless House
- Talking Stick
- Syren for Port Jackson
- Factory Spirit.
- What Survives
- KellerRadioActive at IASKA
- Magnus Opus
- Preaching to the Converter
- Virtual Spirit
- AudioNomad + Syren
- An Unrequited Place
- Voyages from Eden to Utopia; Hercules
- The Transit of Venus
- A Symphony for Other Cultures
- The Lament
- Sonic Landscapes
- Siren Song
- Ship to Shore
- Re-Entry Vehicle; Natural Science in the Spirit World
- Naughty Apartment
- Mute in TalkTown; the sweet warm breath of science
- La Zona del Silencio
- Everything’s Nice with American Rice
- Silent Forest
- Dual-Nature (Ebb and Flow).
- Die Melodie der Welt; Bringing Home the Bacon
- Sample Content Of Radio Works as MP3
- Big Bell Beta
- Din: Ding, Dang, Dong