Elsewhere 2023, Digital Archival Print /5 + 2 A/P
“Dust, lines of light, splendour, marks, recordings, echoes all cohere then come apart again. We are left to stand before, to be with, to become tissue of absorption with a process of going on or getting into. Radical passivity, solitude, fascination, we are left to discover an orientation without a sign economy as a guide. Alone in making, all that presentation might offer is this condition. Splendid, alone, an offering without reply, like a return to nothing, a disappearing footprint left over from wandering and from wondering. Perhaps. The whisper(ing) of a work. Perhaps. A door a-jar. Just enough, a trace of enough. Perhaps. Enough.” Jonathan Miles
PS1 Archival Print /5+2AP
“What then are the folds of this series of presentations? A folding of temporality might jut out, a fold between mark and trace, a fold of interiority and exteriority yet another.” Jonathan Miles
“What then are the folds of this series of presentations? A folding of temporality might jut out, a fold between mark and trace, a fold of interiority and exteriority yet another.” Jonathan Miles
Higher Ground Archival Print /5+2AP
“The works present a complex series of inscriptions, that of mark, performative or ritualised expenditure, mapping, temporal registers and the eruptive potentiality laying await in the form of invisibilities. This is neither a labyrinth, nor a network, but rather an offering of a content as “a glimpse of something” in the words of Willem de Kooning. If content is but a glimpse of something, then what is it that is glimpsed? Inscriptions, folds, maps of elsewhere, subjectification, encounters, meditations, the list could be stretched out by such serialised abstractions. What we might instead start with is material crumbling in the hand, or a lump of clay looking back at the other as if to invite a response, the primal division of form and formlessness, or a process which stages de-cen-tredness.” Jonathan Miles
“The works present a complex series of inscriptions, that of mark, performative or ritualised expenditure, mapping, temporal registers and the eruptive potentiality laying await in the form of invisibilities. This is neither a labyrinth, nor a network, but rather an offering of a content as “a glimpse of something” in the words of Willem de Kooning. If content is but a glimpse of something, then what is it that is glimpsed? Inscriptions, folds, maps of elsewhere, subjectification, encounters, meditations, the list could be stretched out by such serialised abstractions. What we might instead start with is material crumbling in the hand, or a lump of clay looking back at the other as if to invite a response, the primal division of form and formlessness, or a process which stages de-cen-tredness.” Jonathan Miles
