BLÅTIME SOL, 2020, 5:50 minutes, single channel video for projection. Film, performance, edit by Rachel Wolfe. Original soundtrack by Mehmet Dogu. Sun video, clay sculpture, and text by Mudi Hachim. This film was made possible by the support of AiR Kjerringøy and Bodø Kommune.
As a dream, the screen technology transmits the sun. The process of solar transmission touches the memory of the first moment we see sun in our life. This sun remains within each one of us. The warm light resides within us forever. This traveling project with the sun, transfers the sun through a spiritual ritual derived from Sumerian civilisation. The image reminds each of us, we move everywhere with this sun inside, and shine this sun from within.
By enacting rituals established 8,000 years ago, good energy from the sun is transmuted through the video. The light is refracted from a container, made from paint and clay. The container used in this work contains writing from texts originating from The Epic of Gilgamesh (the sun within you). The texts and container return the memory to the sun within; even in darkness, this warmth remains. The four sections drawn represent stages of the idea, or revelation, of this project from idea to certain, to implementation. In the result, the performance through dance (expressive movements) create forms to represent the process of transmitting light.
The earth always has some magnetic excitement going on. The solar flares vary along with the cloud coverage. Despite the likelihood of northern lights being frequent, so far in Nevelsfjord, they have been a special treat. The Bayer Filter (wiki) is responsible for the dramatic green hues often seen in images of northern lights; so when I processed these, I allowed the star blur, and white and blue tones to shine through. The movement of the visual was softer and more rapid than I had pre-conceived. Kjerringøy is dark early at night since geographically resting above the Arctic Circle. While this doesn’t exactly inspire the feeling I usually have to take a nattur, or hike at night, I was able to nab these images right outside the front door. I hope the softness of the image comes to you with the delight of feeling.
During the months of October and November 2020, my work and research continues by the gracious support of AiR Kjerringøy, Kulturrådet, Bodø 2024. To support my work, please follow the link within this website below. Patrons receive a password to special content only shared with those supporting the continuation of my work.
This week marks the completion of my first artistic residency after graduate school. As an overview, I have planned to write a post about each specific site during the residency to perform as both an archive, diary, and site for future reference. There were quite a plenty experience with the residents and participated individually I would like to cover. Some of the images at the end of this entry offer hints about the writing to come.
The month-long residency with PRAKSIS Oslo, in Oslo Norway, involved balancing working (for wages) and the deeply laborious effort of artistic practice. As a group, we visited several sites to encounter specific bodily experiences such as an anechoic chamber in Moss, Norway. The delightfully accommodating SEAS had our group to experience their chamber. At once I felt myself atop a snowy mountain and deep within a sort of Platonic cave without any shadows. Several of the artists experienced the sensory deprivation experience where I had been working at Bare Flyt in the Sagene area of Oslo. We visited the Vigeland Mausoleum with an echoic resonance making of the voice, a sense of a holy experience. Most days of the week, several of the artists would gather at NOTAM, and we would discuss our individual projects and where they intersect. We met with Stephanie von Spreter, the director of Fotogalleriet, as she graciously joined our meetings to review our work. The organisers of PRAKSIS, Nicholas Jones and Charlotte Teyler, hosted several delightful dinners in which members from art, educational and political actions in Oslo joined us for some memories I feel honoured to raise a glass towards.
The sort of things we discussed were plenty, but some themes that contininually surfaced:
synchonicities, esp, perception, embodied sensations, the real, imagined, virtuality, personal biography, the other, whether or not free will or choice really exists and the implications, what constitutes collaboration and through careful consideration by the lead artist of the residency, Lindsay Seers, we landed upon corroboration.
This residency offered a stark contrast to many of the institutional experience I encountered during graduate school. I was surprised and encouraged by the supreme openness, warmth, curiosity, and supportive nature of this group of genuine artists. Quite often, I will find closures or endings terribly tragic, that all promises to remain in contact result to be words in vain. This time there really was not a sense of goodbye, but the real sense of vi ses, or we see, next time.
And so I am reminded of a poem I wrote in Chicago and performed at the Green Mill many years ago. At this juncture of writing and saying aloud these words, I was in a a cognitive space where I found the division between work and leisure to be a construct of value only to the markets which asked me to pay my wage to their products or objects. I sought a life where there would be no division of work and leisure. That even this word leisure seemed in 2007 (or was it 2006, or 2008?) an ideal about an attitude. What if the ridged way of marking time with days, hours, activities could be dissolved? Of course these kind of descriptors of time remain in play today, and quite often I may appear as a totally absent minded person, but more importantly, this seeking I had set out for became fully realized throughout the duration of the residency. I brought with me to the residency a vague notion we may create a work together or share an accumulation of many small works together one day (as Lindsay has already been creating several videos for each of the residents), and gained something more immediately of value-the dissolving of concepts, beliefs, allusions. A more cohesive experience of living and creating. Yes, I experience this quite as sensationally as it may sound. To be a more complete and whole practitioner of embodied reality, not forced or coerced by preset standards. And again, as in science, quite often the proof has been created by whatever set our minds towards. Here is the poem, at last:
rendezvous daydreams
sit atop a twiddle my thumbs tuesday
aching for the ever acclaimed weekend
i bide my time with silly banter until
we can be near
my dear
i’m singin’ a tune you had better listen to
but no good at games
i’m claiming innocence and honesty
will someday gather me a man
who can handle my moves
not try to tame my heart
but hold my hand
no room for tears
for we never say goodbye
only see you next time
Ceiling of anechoic chamber at NRKVigeland Masoleum image courtesy of their websiteHeavy Water from RjukanMetronome in the SEAS anechoic chamberfoggy walk on chainlink fenced off terraininterior of the anechoic chamber at SEAS in Mosscompleted full body participating knitted work of errorsthe egg at the floating center in sagene
