Deep Cut
Asylum Chapel, Peckham, 21/22.04.21
Deep Cut (After Lygia Clarke, Caminhando 1963)
A Deep Cut is made. Beginning with an incision into the fleshy language territory of the body.
A hand in laboured grounds, which gesture the propagation of technologies. Within this synthetic divide, heterogenous material becomes fluid, coalescing, interacting materialities.
A thermal reading led by sight is a labour of the hand-eye. A reenactment of doubt in its material or corporeal form. It becomes a speculative exercise, offered up are the bare terms of engagement.
A self shaping feedback mechanism of chemical transfer, coagulate and pool into stranger forms.
A ploughed field in furrowed peaks, helio-kissed and flooded, resurface: Tuber, mineral, pelt, steel, wire, jewel-job, night-switch, shale, scree and sinew.
A topological view or mapping of activity, monitoring a shape-shift between static object and performing subject. In making this cut is an acceptance of a change in agency, where the gesture is intimately held, and remembered by the body.