The Infinite Line [A search for the unknown] was a 3 person exhibition presenting new works by Roseanne Lynch, Cassandra Eustace and Richard Forrest that took place in TACTIC gallery, Cork in May 2014. Curated by Maeve Lynch and Sophie Behal.
Installation shot 'The Infinite Line [Search for the Unknown] Tactic, Cork.
As a group of 3 artists and 2
curators we met twice at the beginning of the year to discuss the show. There was excited
over-talkings as we realised common themes and concerns. Cassie and I made
plans for joint readings of Briony Fer’s ‘The Infinite Line’.
Then my back ‘went', 3 months
in bed, heavy drugs and a surgery and previous intentions for the new work changed.
My dyslexia seemed more acute
since surgery, words floated more and I found myself reading sentences
backwards as well as forwards, and meaning didn’t register. My memory was
terrible and the intended reading and context for this new work alluded me- the
taste of them was there, but the meaning did not stay.
When the back was really bad I lay looking at the ceiling just breathing, and life defined itself into very simple elements. Once upright again I went into the darkroom at
home with refined elements; light sensitive paper, transparent materials, light
and time, and the fundamental question: What will it look like if……….?
In the darkroom I was in
moments of repetition, elements leaning tentatively against each other on the light sensitive surface for 12
mississippies, or less, or more. There is fragility in that moment, and you are
absolutely present, you have to be or you loose count and the thing will be
over exposed, or under- or the small construct collapses. I was sure of what I
was doing- sure of the unknowing held within the rhythm, each exposure becoming
an unrepeatable print.
Section of 'Exposures 3-9' Roseanne Lynch
My works are linguistic- I
see them as that. A continuum of an ancient attempt to communicate, and the infinity
of that linear attempt. Words as ghosts of civilisations and times past,
evolving into our contemporary written words.
There is an acknowledgement
of the contemplative in my work. The tuning in of a thought process, our
perception of time and space, a meditation on waiting for nothing, looking into
voids, expressions of that moment in time. Photography holds that moment, bringing
that time to materiality, referencing an ancient Greek philosophy that when you
read a poem from a dead poet he is borrowing your tongue and your time,
The work is silent, and the
print is the link between moment of making, and another moment of viewing,
those moments connect, though they will be time apart, years even, a sharing of a question mark.
The fundamental activity was
making these small structures and counting out the seconds- elements of
architectural concerns; stability and transparency, function and appearance.
The images lead back to that
moment of integrity, the trace left after.
Then we came together to hang the show.
Then we came together to hang the show.
'Imperfect patterns 2' (left) and 'Unrepeatable differences' Cassandra Eustace
'Truncated Tetrahedron' Richard Forrest
'Fractal structure' Richard Forrest
My work is arranged like a
sentence of 7 utterances. A sentence is meant to impart information so that by
reading it you understand better. This sentence does not do that, you are no
wiser as it produces questions rather than answers. It does bring you somewhere though. In the work I propose a questioning of how and why we desire understanding. It is a search into the unknown, with the intention of sitting
within that unknowing.
With that comfort in mind, I share this quote by Justin Alvarez from Paris Review, 9th May 2014:
"Isn't that why we write anyway- in hopes that while we may not figure out what we mean, the reader just might"
With that comfort in mind, I share this quote by Justin Alvarez from Paris Review, 9th May 2014:
"Isn't that why we write anyway- in hopes that while we may not figure out what we mean, the reader just might"
The curators produced a
publication, including our initial conversations and commissioned writings and correspondences, and
organised a mini-symposium- and again,
beautifully coherent thoughts brought together and echoing each-other.
My heart felt respect and gratitude to my fellow artists Cassandra Eustace and Richard Forrest, and to our curators Maeve Lynch and Sophie Behal.
My heart felt respect and gratitude to my fellow artists Cassandra Eustace and Richard Forrest, and to our curators Maeve Lynch and Sophie Behal.
There was an aesthetic and cohesion in this show I feel so sure of.
