Monthly Archives: February 2018

.step back.

i knew you a while

yet

i did not know you

on eating you snapped

at her/ i stepped back

you apologised later

on caring

you snapped

we stepped back some more

is it the programming?

we choose from the two

reactions

we step back a little further

21827033_141052419839384_812557428141850624_n

.the poet.

. the poet .
the photographer,
the writer, and gatherer.

there you are,

i have been looking for you.

telling me of auschwitz.

a story of love,

until the bird hit the window,

and died.

lay there, the journey,

till we three,

the writer, the poet and me,

laid it gently,

covered its face.

and we moved on.

sbm.

.sounds.

an iconic building, unexpected.

long day, folding linen,
no pressing involved,
honest work.

long for silence, not with this sound,
yet the pause was part of it.

breaththty, breathing, clarion call,
whilst the while, keys, sounds ofathematics, and that fiddling with the
wires inside, like the turkish man does.

sometimes he wore glasses.

some came with words, standing ready,
proclaiming themselves, their identity,
staged and be yond.

iconic evening, unexpected.

then, i longed for that silence
only found alone.

some things are too special to be discussed.
here.

sbm.

note*

.small items.

. small items .

made without regret,
yet red cotton to
give away on thursday
and saturday evening,

the first word being welsh.

i remind thee, free art,
do not eat me.

we had a meeting yesterday.

fluxus

sbm.

shot_1404981311683[1]

.art is orange.

26872435_161283301185719_7428574339944939520_n

it is said. tick the box.
i have a quiet day here today, preparing, making work.
i have found a freedom with the residency which is very precious.

next week, we shall clean
the cabinets.

relational, it is marked.

synchronised crossing

in orange.

.ghosts.

. ghosts.

i tell you this. there are some do not believe
yet will not sleep there, while others will, and some
wish to be invited.
there is one that talks to them,
in the auditorium.

the seats are down.

some photos show nothing,
as does the work, i produce.

yet it means something, if
you go to look.

i tell you this, put on your nicest clothes,
go to the theatre , chase
your ghosts.

there is nothing to be afeared.

here.

sbm.

26866364_185362865551760_882386307815309312_n

.wunderkammer.

. wunderkammer .
small and slightly curious items,
is an artist in residence, here?

glass housed and labelled

ten years ago.

this house is closed, yet

will open at 10 am.

possibly. it varies
different days,
according to the programme.

google calendar.

sbm.

16122843_676635309162840_824963763298893824_n
*notes
Cabinets of curiosities (also known as Kunstkabinett, Kunstkammer, Wunderkammer, Cabinets of Wonder, and wonder-rooms) were encyclopedic collections of objects whose categorical boundaries were, in Renaissance Europe, yet to be defined. Modern terminology would categorize the objects included as belonging to natural history (sometimes faked), geology, ethnography, archaeology, religious or historical relics, works of art (including cabinet paintings), and antiquities. “The Kunstkammer was regarded as a microcosm or theater of the world, and a memory theater. The Kunstkammer conveyed symbolically the patron’s control of the world through its indoor, microscopic reproduction.”[1] Of Charles I of England‘s collection, Peter Thomas states succinctly, “The Kunstkabinett itself was a form of propaganda”[2] Besides the most famous, best documented cabinets of rulers and aristocrats, members of the merchant class and early practitioners of science in Europe formed collections that were precursors to museums.

.space.

space paced in air.
space quiets each noisy soul
into silent submission.

air humbled the cup, the face
the noise of the days.

the drawing waits
for time, as do all things.

a quiet space.

i took no photograph.

sbm.