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from: Atlas
Peripatetic 213 wood most commonly used to make things wudu the primary content of stems of cellulose bound by lignin (xylum tissue) ring of xylum, heartwood / sapwood wood stronger across the grain thin slabs glued grain crisscrossed the strength of one ply the stinky panels of Portland’s World’s Fair eight miles of football fields logs cut to length stripped steamed spun on a lathe and peeled like careful apple curls veneers down to a thin core kiln-dried patched with pointed ovals stacked glued pressed sanded the death of old-growth Douglas Fir unmarred by knots / patches spotted owls marbled murrelets coho salmon Pacific Northwest to South / Southwest these plantations of private pine branches crisscrossed and waiting 218 They go their own way, these artists and their examples we wish to follow, an outstanding sample of paint brushes in a can, a free handling of figurative objects and abstract forms, in the mind and eye a small number of simple images: flag as landscape beer cans as light cans of turpentine as figure / ground target as target. Look for something deeper. Stray, haunted by curiosity, and travel the lost way, the zone of magnificent ends and ground plans remembered. If you are lucky you might disappear. This important drawing is sad in several ways, with borrowings and tracings, two eyes and a mouth that might be smiling but gone back over, conflated and drawn out, reserved and laconic beneath a veil and a facecloth, a recurring motif, a tracing of a breastplate, a draped corpse, a sleeping dog, an outline of origin, a map of unknown country. A body was once here, a body without boundaries whose shadow proves its existence. This is not the end of the world, but the arc a length of string makes. 274 one who that which harm coals, sparks from an open fire a cushion to lesson the shock a vessel in contact with another vessel mud thrown from the wheels a house (damage, exposed angles) feet acting on cranks sharp, inharmonious noises hard, sonorous bodies shaken together, clatter with the voice, to talk with or away assail, stun scold, rail a drum with which a sound is made a child’s toy senseless, sharp an organ of an animal air in passing through two back seats facing each other noise in the throat death, when it is called death osier, a vessel made of twigs cane, rush splints, interwoven as much as a basket contains bell, vase a great city to live in, but not a great place to work 290 fake, in question just music and sunshine gestures and long wind blue humor to entice falling snow all weepy element, surrounded by a laughing exaggerated, lights black out exclamations go up make it slow, a scene making the stretch the closest look at the music and lyrics, waltzing segments in the strange archives of map makers 302 to cause a dirty stir rainwater in a hollow to wade dabble or splash clay, a mixture of clay and sand, kneaded or worked, when wet to make dense or close as clay or loam as iron of cast to that of wrought |
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glenn
bach is a
visual/sound artist and curator. Atlas Peripatetic, was
inspired by extensive mapping of sounds on his morning
walk. Excerpts have appeared in such journals as Jubilat,
88,
Aught, The Argotist Online, hutt, Softblow, and forthcoming in
foam:e. He
also edits the website pedestrianculture.com.
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