14 April noon – 16.30 Rhubaba, Edinburgh
i stop outside the gallery and watch in.
air round my head, i watch them move and their actions mingle with reflections
sensing and trailing, tracing past the effect of the thermoplastic
he invites me then she does
it is so warm and nice to the touch
we chat while i set the material on her waist standing up and just letting the patch drop
the sound is harsh and so different to the warmth, pliability of the material
she balances the piece from the waist on her face, then her knee, i photograph her walking away
she stands earlier next to me and i feel her presence, she holds out a piece and a smile,
i briefly think about taking it, then, shy, i don’t
i gonna put this right to your neck, is this okay? yes, it is quite hot i hear him steadying his breath
the next photo is after it has set
pressed against the body or against other objects: how much pressure do you apply?
being invited to join, i am possibly the only one they didn’t know. the choreographer comments on my beautiful participation in the kitchen space
can you help me and hold that until it sets? i film a little, later i hear them giggling.
Lucy asks me if she can cast me and i say yes. she casts my thumb and we wonder about transfer
responding to the movement impulse and to the pressure…
… the body gesture that makes the piece fall; the reaction to it falling, the sound of it falling
towards the end of cycle 2 many more people arrive, at start of 3 we are just under 20. the performers now whisper and it seems to have moved towards watching. before it was quite playful and a joint thing, now it is a performance with an audience.
cycle 3: more forceful; they ask each other if one can push. bodies get entangled. at 2:35 they interact with audience again casting underneath a body: different to putting something on somebody. he leans into it and the woman who stood up didn’t quite intend to touch his stomach. he falls down and off, Katie and her investigate the leftover cast .
casting Lucy’s forehead. you can give me more, she leans into it further they go to the ground, his hand moves forward and the cast sticks on it through a series of upward movements. it falls when he falls to the ground a second time. .
is that too hot?
yes but it is too late now
sorry, i do that
Discussion with Florence Peake and Robbie Synge
everyone to pick a cast and sit with it as if it was your lover who doesn’t like their shape? let’s recast
how we handle things how things handle us
Robbie Synge — being isolated in Highlands and probing materials as what they can offer Florence Peake — clay as medium, object as argument against fascism
Relational space: clay is very responsive as it responds Florence: empathy objects and psychic readings constantly in contact with some material; focus attention on that and making it object of enquiry
sculptural time and the need during the performance to yield to the temporality of the material. you could see that making the timing
sitting with the object as if it was your lover. it really wasn’t, i wouldn’t.
i have mine recast as my left fist. it feels so good as it sets and first lets my hand move then begins to restrict it. what is the object, what inside or outside
Rite as boundary blurring and not sure what is what; codependency with people but how about with objects? transference taking place; you ask people to touch your bare chest, heaven forbid, the object is leaving a memory
Florence: i really want to have been cast with them and i didn’t have that yet. i was even holding my hand out once, come to me; and it’s nice to sit with that desire. The intimacy of their size and shape is fascinating; while frustration with scale