Relationships. The discovery of gravitational waves was the inspiration for some recent etchings. Trying the same image in softground on steel and hardground on zinc.
As I understand it gravity is the result of a relationship between the bending of space time and mass. The recording of these waves pulsing for the briefest flash of time when two black holes collided and merged into one has excited scientists. This merging of two black holes was such a massive event that it caused ripples in the fabric of space time to spread out across the universe. 
I was first introduced to the idea of beauty in mathematics and the extraordinary collaboration of Cambridge professor G.H. Hardy with Srinivasa Ramanujan, a self-taught mathematician from India by the Complicite production A Disappearing Number.
Raymond Flood’s Gresham College lecture on the value of collaboration between these mathematicians along with J.E. Littlewood and Mary Cartwright gave further insight to their relationship and the advances they made in mathematical analysis and number theory. What interested me was Littlewood’s summation of four distinguishable phases in creative work: preparation, incubation, illumination and verification or working out. Preparation is the conscious research and the problem should be kept in mind at all times. Incubation is the work of the subconscious and the waiting time can be several years. Illumination can happen in a fraction of a second; it is the emergence of the creative idea into the conscious mind and implies a mysterious rapport between the subconscious and the conscious. The verification is then just a matter of realising the idea, the hard work has been done. I feel this.
My etching ‘Forest of Eden’ was selected for ‘Blind Plural’ at Hundred Years Gallery. The exhibition ‘comments on or plays with issues related to the nature of hostility, its forms and representation…’
Susan Eyre Forest of Eden
In history the wild man’s characteristics reflect topical fears and aspirations, violating the taboos of civilization and symbolizing the repressed desires of society; they oscillate between horror and fantasy. I wondered who a contemporary wild man might be. Someone on the edges of society, both fascinating and repulsive. I had come across images on the internet of this person who posts photos of himself posing almost naked with guns strapped to his body. An internet meme shared with equal disgust and fascination – I placed him back in the forest of all our origins.
Jane Boyer raised some interesting questions about self awareness with her solo show A project space called I at ARTHOUSE1. An exhibition of the I-artist curated by the I-curator.
Jane Boyer enigma wall
My own mind struggles. How can I separate myself as artist and myself as curator with regards to my own work. 
Surely I want the same things in both those roles. I start by thinking I can see how this works if I separate myself as chef and artist. Looking at different roles I play and how I react to people from these different perspectives. A bit like cross curriculum activities, but within myself. I think I’m going to need a chat with Jane about this sometime.
Alongside this I have been reading Seven Brief Lessons on Physics by Carlo Rovelli whose final lesson Ourselves tells me that I am a process which adheres to the laws of nature. There is not an ‘I’ and ‘the neurons in my brain’. They are the same thing. My unique sense of self is the rich culmination of billions of interactions and processes within my brain that reflect my personal history of experience. So with this in mind the works in the solo show are the markers, the process made manifest and as Jane presents; an autobiographical curation of a self.
Denise Gough playing Emma in the play People, Places and Things makes a plaintive cry to the world at large – why is it that she can’t cope with reality, why is it that she is overwhelmed by the unjust nature of the world and must resort to mind altering chemicals as a means of escape when everyone else seems just fine with it. The audience joins her in a spiral of despair. Denise Gough’s performance is extraordinary and totally captivating, how she can put herself through such emotion every night is another question this play raises about how we separate ourselves from reality. The clinical rehab set protrudes into the audience arena like a neuron connection within our collective brain.
The play is a visceral interrogation of self and relationships. The cause and effect of actions between mind and body. Self destruction and self renewal.
People, Places and Things
When Emma finally emerges from months of tortuous self analysis to face the world alone she is advised that to maintain her freedom from addiction she must avoid anything that might trigger associations with her past life causing her to relapse – she must avoid people, places and things.
As part of London Open House weekend I visited the Government Art collection on a guided tour and behind-the-scenes look at how this major collection of British art operates. There was a lot of security and in most areas no photography. Our Government (us then) owns a collection of around 13,000 works of art mainly by British artists from the sixteenth century to the present day. About 75 per cent of the collection is on display in British Government buildings in the UK and in Embassies and Residences around the world. The idea is to help promote British art. There is a meagre budget to purchase new work with most of the funding going to conservation, transportation and installation. A nice perk of being a civil servant is to have the choice of some great works for your office, for the rest of us they do offer a lunchtime tour of a small viewing gallery and the racks to see what’s been left in storage.
The raw space of the Bargehouse on the South Bank was a great setting for the meditative pieces of Kate Fahey. The degraded building echoing the degraded web images she appropriates into her work.
Kate Fahey
Pulling the digital from the screen into the world of matter, she reverses the process of the viewers visual overload of images.
Kate Fahey Possible Object
A hundred explosion images become one, one grainy image is cast solid in aluminium and a slow beat metronome stills us.
Kate Fahey counting/uncounting
We are in a war zone, in slow motion.
Bedwr Williams animated line drawings that made up the film Writ Stink at Limoncello showed the deconstruction of a man obsessed with hiding his secrets – turning on fellow creatures, suspicious of everyone he meets – maybe with good reason – life becomes a battle to preserve, to hide away and disengage.
Surreal, comedic and tragic we are left wondering about the power of knowledge.
Observing the projection of the self creates a self consciousness that, like observing the path of an electron, is surely impossible to do without interfering with its trajectory.
Susan Eyre 