We are but a moment in the flow of time…

 Flow 1Can we speak of love…

love of a landscape,

of the dance of light and cloud upon leaden Autumn waters,

of the sway of cotton grass in a playful Summers breeze,

of the cool green air which wisps around your Spring hair,

of those little details which reveal a world,

of the escape from mundane valley floor,

of soaring rocks, glacial scarred and Winter shattered

raptor and carrion,

your rapture and return…

Can we speak of love…..

…. from fragments,

from imperfect
traces….

from the hard cold realities….

Can we speak of love….

love of the object,

sought,

hard won,
cherished

and

curated.

Flow 4Flow 5Can we speak of love…

separated by 5000 years,

joined by a humanity.

Is it too hard to feel…

what it means to acquire,

to complement,
to share…

Flow 9Flow 10Flow 11

These partial traces,

spectres

of

objects desired,

with no value…
only discard,

detritus,

the waste from

greater

desires…

Flow 12Yet …..

….they were hard won

by trowel,

by folded body

by stiffened knee…..

by cut finger and

aching arm…

they were hard won….

by stone upon stone,

crack and dust,
clatter and clinker,
roughed out…

waste, waste, waste, waste, waste,

the object is borne

Flow 13Can we speak of love….

again revealed,
bagged and tagged
cleaned

measured,

incorporated into a world

beyond their….

… imagine,

a metric curation,

an assertion of the rationale…

suppresses

a terror of what they may reveal…

Flow 14Flow 15Can we speak of love…

love of the object…

a fetish beyond,

love of the insight,

of the revelation,

of the enlightenment,

beyond, we love beyond

the bounds of normal understanding…

for one moment they mattered,

the core of a world denied for millennia,

for one short moment

a sweet anticipation of display and adoration,

of wonder and desire… Flow 16Flow 17Flow 18Can we speak of love…

Care, and ware, grind and polish…

Smoothed and caressed, a concentration,

focus,

effort,

an obsession…

material meditations…

shared and displayed…

an eternal transformation…

objects transcending moments of humanity…

…your daughters daughters sons

daughtersonsdaughtersonsdaughters

tell tale of those who pulled them from

the mother rock…

Flow 19And yet we have inherited hard cold curation,

an uncomfortable,

comfort from discipline,

little known,
little revealed,
little shared,

but we are satisfied ?

with what…

Flow 20Flow 21

Flow 24 Flow 22with the recovery of loss,
with the ordering of disorder,
with the categorisation of the chaotic,
with the control of the uncontrollable….

with our conceit …

can we speak of love…

Flow 25 Flow 26Flow 27Look again,

look carefully,

not at the traces of the past,
but
at the fleeting glimpses

of the future…

Flow 28…fragments shared,

flow

…fragments journeyed,

flow

…fragments retold,

flow

…fragments transformed,

flow

…fragments returned…

Flow 29Can we speak of love…

love of the possibilities of what might be,

love of our shared humanity,

love of the intangibility of the tangible…

Dry and broken husks, pass no more on the winter stream,

occasional glints, below the surface beckon Spring rains.

Flow 32

Can we plant and tend,

seeds of spirit

grow

seeds of soul

grow

seeds of light

roots and radiance,

beyond generations glow.

Flow 34The journey, the narrative continues….

how will you love

heap more order upon disorder

or narrate the next chapter, the next journey

share and tell,

show and reveal,

one year to this day…

is

Flow 35but a moment in the flow of time…

—————————————————————————————————————-

One interest I have are the threads which can be drawn out and traced through the millennia.  So slight, so fine, they can only be seen from certain angles – a flash, a glint, in peripheral glances – but I am sure they are there.

One fragile thread I have been teasing out was originally found in the uplands.  Five thousand years ago people quarried stone from mountain places such as the Langdale, Cumbria and Craig Na Caillich, Perthshire.  From the stone they produced polished stone axes. Polished stone axes may have been considered prestige objects and often traveled significant distances, perhaps handed from person to person.  Each time a polished stone axe moved, its story may have traveled with it linking time and space through the memories of generations.

The piece I present in part here traces these threads and looks forward.  Some images show a small quartz cairn I first created in the uplands six years ago and how it has changed.  Other images show large waste flakes from making rough out axes 5500 years ago: they had been excavated by archaeologists and they were going to be disposed of as no longer wanted for curation.  Many of the images relate to the burn which flows down from Craig Na Caillich axe factory, other relate to prehistoric sites where polished stone axes may well have been used and deposited.

The piece was presented in the Creative Archaeologies session, co-organised by Antonia Thomas, Dan Lee, Carolyn White and Ursula Frederick, at the 2015 European Association of Archaeologists conference.

As part of the piece 25 boxes were given away and an invite extended to those who took them to collaborate in exploring the future chapter of what was inside.

Flow of TimeThe piece extends :

In The Flow Of Time We Are But A Moment ….

Remembering the Forty Five

Trophée d'Auguste 4Trophée d’Auguste à La Turbie overlooks the French Riviera.

Between 25 and 14 BC the Alps were conquered by Emperor Augustus.  Situated at the frontier of Gaul, the trophy dedicated to the subjugation of Forty Five tribes was created from 7 – 6 BC.  Still a prominent monument in the landscape 2000 years later, it was then a symbol of Imperial dominance.  Yet when it was constructed it required legitimacy from a mythical past, perhaps to evoke demi-god like status upon the Emperor, deliberately situated in part of a landscape associated with the journeys of Hercules (Heracles Monoikos), referred by some as the ‘Heraclean Way’.

Trophée d'Auguste 1 The site was remodeled in the Medieval period as a fortress, which was inhabited to 1705, at which point it was largely dismantled to provide stone for the construction of the adjacent village.

Trophée d'Auguste 2In 1913 consolidation and reconstruction with remains from the site (anastylosis) commenced.

Trophée d'Auguste 3This process continued in 1934 by Jules Formigé but with more significant reconstruction with new materials. To the extent on the west side a marble slab (17.45 m x 2.66 m) was re-created, in part from original fragments found at the site, and based on an account of the original transcription in Pliny the Elders Naturalis Historia. 

It reads:

To the Emperor Caesar, Son of Divus Augustus, Pontifex Maximus, Imperator fourteen Times, and invested with the Authority of the Tribune seventeen Times : the Senate and People of Rome : For that under his Conduct and Auspices, all the Alpine Nations which reached from the Upper Sea to the Nether, were reduced under the Empire of the People of Rome. The Alpine Nations subdued:  Triumpilini, Camuni, Vennonetes, Isarci, Breuni, Naunes, and Focunates. Of the Vindelici four Nations: the Consuanetes, Virucinates, Licates, and Catenates. The Abisontes, Rugusce, Suanetes, Calucones, Brixentes, Lepontii, Viberi, Nantuates, Seduni, Veragri, Salad, Acitavones, Medulli, Uceni, Caturiges, Brigiani, Sogiontiiy Ebroduntii, Nemaloni, Edenates, Esubiani, Veamini, Gallitce, Triulatti, Ectini, Vergunni, Eguituri, Nementuri, Oratelli, Nerusivelauni, Suetri.

Names of peoples long forgotten by most…

Monaco GoatThe site however overlooks Monaco,

its name derived in antiquity from Heracles Monoikos

More importantly, perhaps, the Victory Monument towers above the site of Oppidum du Mont des Mules.  The site of the Ligurian fortification created perhaps about 250 BC which would have been subjugated during the campaign of Emperor Augustus.Oppida BuildStill the stone ramparts, of this tribal center, stand.  An alternative claim

on the landscape

from the Roman dominance

above.

The lines of the ramparts can still be

traced,

Oppidum du Mont De Mules 1Dressed blocks showing the scale of what was once before.

RampartQuarried from the hill top, reconfigured, bounded in stone.

Oppidum du Mont De Mules 2Its ramparts, so close, as its wider landscape, to still be part of Monaco below.

Oppidum du Mont De Mules 3But go off the path, and you can find gestures which evoke different views of the world.

Offerings 1 Offerings 2   Not simply one stone, embellished as a tribal head.

Rather a component of a bigger piece, a cairn with other stones embellished.

The individual pieces expressed in different terms but together creating a visible statement of unity.

Offerings 3One had a stenciled profile of a building, and I wonder what the hidden faces of other

stones

would

reveal.

But then from the view point at Oppidum du Mont des Mules,

another world

was revealed

below…

Way Below…Casino de Monte-Carlo,

shaken and stirred,

I reflected on the

forty five tribes.

 ———————————————————————————————————————

The visit to these sites was part of a study tour to the Maritime-Alps which followed the salt routes from the coast to the inland mountainous landscapes.

Further information:

Trophée d’Auguste à La Turbie

Pliny’s Natural History For the 45 tribe passage quoted above see page 192-193

Oppidum du Mont des Mules

Via Julia Augusta

Monaco Museum of Prehistory

Old SignageOlder Interpretive Plan of Oppidum du Mont Des Mules.

Sign of the TimesRecent Interpretive Signage of Le Trophée d’Auguste

How times change !

Cultural Capital – the Santiago Pilgrimage

We move to the final panel of the Santiago triptych,

upon which I found myself drawn to

The Two Towers

on a distant hillside.

BeyondMoving through the city…

Crossingbeyond the dual carriageway,

into the peri-urban,

stone marking transitions.

Peri-UrbanityTrafficless I ascended.

RouteAn uncertain entrance.

Entrance Light dancing on the polished steel of hope.

SignageEngineering Culture

amongst steel beams and rods,

Bones watery inner belly exposed,

Bowelswaiting

encasement in concrete

before facadification.

CladdingOld Distant Towers.

CityscapeSignal to the New.

Glimpses Glass and granite clad

organic forms

flow

across the hillside.

Cultural Capital 4Baleen   The Two Towers                   drew                      me                              towards them.

Cultural Capital 3 Cultural Capital 2Twin TowersBefore I realised,

I had crossed the

threshold.

ThresholdBroken shadows danced across the raw concrete.

Cut by ShadowsFalling shards.

FallingTrapped

the body

beneath.

FallenDescending to another level,

traces of others

before

me.

EmbellishedUnfinished displays.

RevealedHidden from site,

I found The Three Towers…

Micro-towersReturned,

to the city

boundary

marked by

standing stone.

Standing StoneAnd thus my pilgrimage ended.

——————————————————————————————————————-
The Two Towers are part of The City of Culture of Galicia (Cidade Da Cultura de Galicia) which when I visited was a building site partially open to the public.  It became apparent, however, as I was ushered out by a workman, that the degree to which The Two Towers were open to the public was ambiguous ! 
The Two Towers are conceived as a memorial to architect John Hejduk (who designed them in 1992 for another project) but also function as a means of ventilating underground galleries and will act as a information centre.  The void between the towers is an exact inverted profile of one of them: so in a sense there are actually Three Towers.
The City of Culture Galicia was designed by architect Peter Eisenman in response to a design competition in 1999.  Based on overlaying a morphed ground plan of Medieval City and five main pilgrimage routes across the hillside of Mount Gaiás.  The City of Culture was conceived as comprising buildings for several major Galician cultural institutions.  It is a remarkable project in many respects, a modern assertion of confidence in Galician cultural identity which converses with the historic environment of Saniago de Compostela.
However, construction commenced in 2001, with a budget of 109 million Euros.  The project required another intervention in 2005 ’12 Actions to Make the Cidade da Cultura Transparent’ by architect Andrés Jaque to raise its awareness in the public consciousness. By 2011 400 million Euros had been spent on construction and in March 2013 work was stopped.    It is unclear as to whether all elements will actually be completed, and how well it will articulate with the Old City.
The standing stone encountered at the end of my journey was erected in 2006 to commemorate the opening of a new suburb, others can be found around the margins of the city.

Flowing Lines – the Santiago Pilgrimage

A few weeks ago, I found myself traveling to Santiago De Compostela, Galicia.  A journey along lines which hundreds of thousands of pilgrims before me will have made over the centuries.  For most an act of faith, along the Way of St James, leading them to the great cathedral overlooking Praza do Obradoiro.  Faced with limited time, my dilemma was, do I experience the ecclesiastical riches that this World Heritage Site has to offer or do I seek contemporary intersections between heritage, landscape and creativity.

Some cities reveal a creative pulse as you arrive on their outskirts, the first indications of life can often be tagging and stickers, as you travel further in you may encounter murals and other street art, which then blends and blurs with public art in the heart of the city.  In the short time I had spent in Santiago De Compostela there was already enough signs of playful creativity…

Dali's PeekEmbelishmentThus I found myself outside the Centro Galego de Arte Contemporanea (CGAC) before it opened, and to fill a few minutes began to explore a park adjacent to it.  I soon encountered a large piece by Basque Sculptor Eduardo Chillida, Porta da Música: it is said there is a peculiar sound when the wind blows against it !

Porta da MúsicaInevitably, I was drawn to the ruins of a building,

Wash House ?which appeared to be a wash house,

Flowingand then I began to weave and flow up hill.

Past another ruined building,

A Number of Ruinsthe floor of which the stone slabs had been inscribed with numerous numbers.

Numerous NumbersWhether these stones were an artistic intervention, interpretative device or integral to the work of Medieval numerologist was not revealed.

As I flowed further up, a succession of devices led the water down the hill,

Chain FlowFlowFlow 2Until I encountered a stone cut hole

possible water cistern, grotto,

entrance to an underworld.

GrottoSo having flowed to the source, I was led downhill by a different path,

autumn leaves nestled in dry flowing meanders.

LinesLeading to the remains of a contemporary stone circle, what ancient rites have taken place here?

Stone CircleBut despite the joy of finding traces of contemporary prehistory,

moth-like I was drawn towards the walls of white beyond, to be immersed in a cemetery.

CemeteryI was looking so hard at what I was meant to see, the emptied recesses, names and numbers variously inscribed, that I nearly missed the continued flow of lines, no longer in water but this time a flow of stone.

These tiny traces, I first spotted adjacent to the entrance, and could follow, in one

Stone Flow 1two

Stone Flow 2three

Stone Flow 3four compartments

Stone Flow 4Before they turned the corner.

Stone Flow 5The stone then flowed along the length of another four tombs.

Occasional traces of embellishment punctuated the flow.

Stone Flow DetailAnd round the corner they continued.

Stone Flow 6Meandering across another recess

Stone Flow 7and splashing to the other side.

Stone Flow 8Stone Flow 9And then they stopped… was there no more….it made no sense, why only on this side…

Eyes frantically danced across the compartments, and rested on a plume of feathers on the other side of the cemetery.

Feather DetailsStone Flow 10And there the line was…

And across the gap broken by steps,

Stone Flow 11a sherd of brown glass, marked another point of departure.

Meandering through another recess.

Stone Flow 12Shells caught in the flow of stone.

Stone Flow 13Round another corner it continued, then stone upon stone it flowed up the wall…

…beneath shiny marble progressed

Marble DetailsFurther embellishment of feathers…

Feather DetailAnd there, in the fourth compartment along the flow ceased….

Stone Flow 14

Why do stones flow through the cemetery?

There is intent.  There is an order of stones in the cemetery.

The stones are small, discretely positioned, but not hidden.  In the higher, longer runs of stone, they have been placed at the very front edge of the compartments.  Perhaps seeking to be spotted, yet precariously living on the edge. In contrast, the lower flows of stone which meander and splash across the gaps, hug the wall closely, nervous of being disturbed by passers.

The evident dislocation and obscuration of some stones by small plants, suggests they originally flowed some time earlier this year, it is clearly in a process of decay, but not totally ruinous.  The traces of feather embellishment have a regularity, which suggests further feathers may have been placed to create an overall pattern or design.

We can imagine how it may have looked when first completed, resplendent ! But even in its full glory, how many have noticed the flow of stone within the cemetery.

We can only speculate as to who may have produced this, perhaps furtively, with no one else aware of their repeated visits to the cemetery: an individual act, contemplative, obsessive, beautiful in intent ?

Or was this created collectively as part of an art work, a publicly made installation ?

Widely known, much celebrated in the city,

and very occasionally revealed to the

flowing pilgrim.

————————————————————————————————————————

I flowed through the Parque de San Domingos de Bonaval.  It was was the site of a 13th century convent, and after years of abandonment and neglect, was converted into a public space in 1995, about the process for which more details can be found here.
The core of the city is a World Heritage Site, Santiago de Compostela (Old Town),  characterised by a rich ecclesiastical architectural and continued cultural heritage traditions of pilgrimage. There is also further World Heritage Site designations of locations associated with the pilgrimage routes, comprising Route of Santiago De Compostela and Routes of Santiago de Compostela in France.  

Palace of Light and Shadows

It was the first time I had been to the Kibble Palace, at Glasgow Botanic Gardens, at night and it was remarkable how different the experience was: plants brooding and sullen, shadows cast in sharp relief, the sounds muted…!

The Kibble Palace was originally built in 1873 and was subject to major refurbishments completed in 2006.  As part of this refurbishment, the late 19th and early 20th century Neo-classical figurative marble sculptures were retained and complemented by new interpretation including a striking series of fused glass panels.  Further details of these and the Botanic Gardens Heritage Trail can be found in a leaflet: which also has a remarkable story of where a large part of the Kibble Palace originated from !

The Kibble Palace has also just been used as a fantastic location for a light and sound installation, Heliotrope. The installation explored the relationships between people and light, in particular the impact light can have on our minds and bodies, and highlighted the long shadow that can be cast by Seasonal Affective Disorder.

The installation, subtle and compelling, really needs to be experienced, as it comprised a remarkable sound scape of resonant drones and chimes, by sound artist Hanna Tuulikki, but with a haptic element to this with sound (I think) in part emerging through the floor.  Gradually changing hues, levels and directions of light evoked, diurnal rhythms and annual solar motion, but appeared to be interspersed with micro-flashes of light.

If the Palace of Light and Shadows was brought alive for me through Heliotrope by the installations producers Trigger, I cant wait to see what they do next following Zombie Lab….