“Translated Fields” copyright Rachael Polson 2011, Seedling Artspace, Blackwood Adelaide
-
- “Translated fields #3”, 2011, Rachael Polson, Seedling Art Space, Adelaide
-
- Detail, “Red Wrapped Rope: 100 metres last count” before installation, 2011, Photo by Rachael Polson
-
- “Red wrapped rope: 100 metres last count” 2011, Rachael Polson, Seedling Art Space, Adelaide, Photo by Rachael Polson
-
- “Translated Fields #1”, 2011, Rachael Polson, Pump Shed, Seedling Art Space, Adelaide
-
- Pump Shed, Seedling Art Space, Blackwood Forest Recreation Park, Adelaide
-
- “Translated Fields #2” 2011, Rachael Polson, Seedling Art Space, Adelaide, Photo by Rachael Polson
All photos taken by Rachael Polson 2011.
“Songs for open windows” copyright Lisa Harms 2011.
songs for open windows
- she has come from miles away (oceans)
- remembers the time she walked down the embankment from the car-park
- draws upon fragments of re-called sensation
- a path barely articulated by foot-flattened foliage
- murmuring music from the creek below
- slim grasses swaying straw-dry and soft green against the red of her shoes; has measured the distance (195 metres to be exact) she has wrapped a rope the same length —at length (100 metres at last count) she has passed gossamer thin, vibrant red silk (around) around and around
- building vibrancy (an extended accumulative effort) from a whisper (held)
- winding tightly, neatly
- purposefully purpose-less
- miles and miles (worlds) away
- you can follow the red line (for a time) retrace a path
- inside the shed, slim wooden dowels hang light, rustle briefly in company with air particles making passage through the open window and doorway
- passing bodies
- shades of red silk wrap the blonde pine
- echo an attenuated pitch against the spring green of the approach, the vertical dark grooves
- the corrugated walls
- sing out to the dark pines on the hill
- from the outside looking in, the lines of quietly moving blonde pine—red thread repeating bright against the dim interior—are framed [i]
- form-trans-formed
- composed
- collected
- translated
- colour
- fields
Lisa Harms 2011
[i] She composes “melodic landscapes” framed within, and spilling energetically from, the architectural shell of the old pump shed; responding to and resonant against the ephemeral experiential feel of the wider wooded hillside; singing sensations of time, place, the weather; the moment; a moment; moments; making, marking, re-marking and de-marking distance, physical effort and simple swelling joy (in this instance) with rope, wood and brightly coloured thread formally placed; out-of-place; paced; in-place. They are paintings she says, citing Rosalind Krauss’ landmark 1978 essay Sculpture in the Expanded Field (which tracked the movement by which the late–modern sculptural form can be understood to have exceeded—trans-formed—the definitional confines of the plinth, enfolding, or un-folding into its architectural and environmental surrounds).
She cites other writers (most pointedly Gustavo Fares) who have translated, or displaced the sculptural terms of Krauss’ argument to posit a field of “expanded” painting practices. https://rachaelpolsonartist.wordpress.com/
She also cites Anne Ellegood, who makes use of the differently evocative term ‘cross-pollination’ to articulate what she claims is a definitive trend in contemporary artistic practice: characteristic of recent, still current “expansive” trans(or inter)-disciplinary, “post-medium” tendencies. Rachael writes of her own practice, that she is “cross-pollinating” not only between media, but is also extending her use of the term to refer to an expansion (and contraction) between two and three dimensions; she suggests (and her current work expresses) that this cross-pollination also drifts between temporalities: by turn compressing and extending a sense of duration. Her use of the term re-calls (for me), the inter-penetration between artistic and natural creative forces referred to repeatedly across the writings of Gilles Deleuze… and brings to mind Linda Marie Walker’s references to Krauss and Deleuze in her own exploration of painting in the expanded field (http://aeaf.org.au/downloads/lmw_makeapainting.pdf), written in critical response to the exhibition ‘painthing (as one)’, curated by Domenico de Clario at AEAF 2010 (http://aeaf.org.au/exhibitions/10_painthing.html) which she titles with a line from Marcel Duchamp’s Box of 1914 ‘Make a painting of frequency’.
Rachael composes “paintings of frequency”…
… compounds of sensation… [vibrations that rise and fall]… follows an invisible thread… embracing… [draws apart and releases] now to be brought together by the light, the air, or the void that sinks between them… ”melodic landscapes”… combining the molecular and the cosmic… in the same being of sensation… [raising up, ex-pressing “rhythmic characters”] lived perceptions… affections… zones of indetermination… where living beings whirl around… compounds of sensation transform themselves, vibrate, couple, or spilt apart… adding new varieties [new variations] to the world…
Gilles Deleuze and Felix Guattari, What is Philosophy? [1991] Translated by Hugh Tomlinson and Graham Burchell, New York: Columbia University Press, 1994 (pp 170-175)
Rachael Polson - Artist 