The Return

Building constructing designing making an installation there is usually a time a day a date an hour when the show the door opens the private view the opening the launch happens and then it is revealed and becomes fixed as a piece a concept a statement a work a position. You, the maker, have no choice but to detach step back take ownership. This is what I want to say. As if….this is what I always intended. But what would have happened in another day another week? Shift the cut off it’s been put back, you have another week.

I leave on Feb 1st without quite the usual sense of detachment, but still harbouring memories of mild abuse from my first public exhibition at the Camden Arts Centre, which invited interaction and got it. And here in this new work there is some implicit invitation to touch, to meddle. That piquant space of tension is palpable. Will they won’t they and will it survive intact for one day even, given that this is not a conventional invigilated gallery. The Courtyard is a throughway a passage and the Cabinet is designed in exactly this way, fit for purpose and passing. And it’s the Cabinet that is meddled with in those first few days, needing a screwdriver to fix it.

But these return visits as the resident, the Magpie, are now built-in and conceptually impact the February ending as not an ending. The actual ending will be on the final day April 28th so the installation can change as the days pass over the three months of the show, as can the film and the totality of my presence within and without the building. We discuss a film installation for a room on the top floor and additions to the Courtyard piece.

I can start to experience the work as transitory, in process, with no fixed point of completion, an unfolding not unfolded. The resident shifts and tweaks. And he observes, via the security cameras, how the interaction happens in the Courtyard, the peering, the wondering, the delving:


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