Brilliant Finale Weekend for BEYOND Residency. Such a pleasure to be part of this project with such wonderful artists and hosts at Allenheads Contemporary Arts.

I was screening the video soft borders made with dance artist Paola Napolitano upstairs in the ACA gallery.

Sharing space with Alex Hughes photographic sculptures Fluid Planes which also looks at material bodies as permeable membranes.

In soft borders phenomena beyond human scale are proportioned to that of the body, aiming to bring cosmic and quantum dimensions into an intimate sensory experience. Movement sequences performed by dance artist Paola Napolitano relate to Rudolf Laban’s dance notation system, choreutics, in turn influenced by Plato and the geometries of the platonic solids. Using the dodecahedron as motif, the boundaries of the universe are brought within reach; pliant and permeable as the body bathed in cosmic particles that do not recognise borders but pass unseen through spacetime and matter.

In the gallery downstairs there was work from Nicola Ellis, Tom Beesley, Alan Smith, Jim Lloyd, Manpreet Kambo, Katie Turnbull and Kit MacArthur, Annie Carpenter, Lucien Anderson, Daksha Patel, Phyllida Bluemel, Robert Good.

Outside was Lucien Andersons The Humble Space Telescope. No telescope, no computer, only the human eye and the night sky. This will be set sail on the ACA cosmic pond to drift on the water whilst a porthole arbitrarily frames the stars, constellations and planets.

There was an intervention Fire, Fluorspar, Water and Ice at the Blacksmith’s Forge from Nicola Ellis in response to local historical mining in the North Pennines and the future mining of near-earth asteroids.

Relighting the fire with added peat from a local ancient.

Nicola Ellis video projection mash up of three sources of propellants from the past present and future of mining practices.

The local mineral Fluorspar under UV light photographed by Jim Lloyd.

Up at ACA Old School house was an installation of work from the OUTSTATION #1 project in which Robbie Coleman and Jo Hodges imagine an alternative history of the Soviet Space Program. OUTSTATION #2 was a twilight road trip travelling blindfolded through collapsing time zones, alternate histories and possible futures. Out on the darkening windy moors Deep Navigation techniques were deployed to guided our unconscious minds inwards.

At the North Pennines Observatory and Cosmic Pond Sarah Sparkes and Ian Thompson presented a chance to listen to the microcosmos of pond life whilst watching the celestial life above through the observatory telescope or relaxing in the listening pod. It was an extraordinary experience, so noisy, like being in the jungle with the same whoops, buzzes and calls that resound from unknown depths.

In Search of Darkness research residency with Lumen in Grizedale forest was an opportunity to experience dark skies and make plans for the upcoming exhibition at Grizedale Forest Project Space.

We had a warm welcome from Grizedale Forest Art Works and The Forestry Commission. There was a guided tour of the many and varied forest areas following ranger John’s vehicle along scorched dry tracks that sent up dust clouds worthy of a desert landscape, blinding and coating us in fine particles but adding to the excitement of being inducted into the forest. We were then given the key to the forest access gates to allow us to explore independently and try out ideas for future work.

I had brought along some mirror pentagons.

We waited for sundown.

Then headed into the forest

To lay in the dark and gaze at the stars

Allowing time for our eyes to adjust to the dark skies; the landscape becomes alien terrain

Back in London a beautiful installation from Kate Fahey at Lewisham Art House repetitive strain gently leads the audience into the minds of those subjected to the physical and psychological trauma of conflict to consider bodily displacement, visual interference and its impact on the psyche as they lie under a billowing silver foil ceiling tinted with warm pinks reflected from a video that is always slightly beyond a point of focus.

Liz Elton’s painting Fields (echoing the past local agricultural patchworked landscape) using degradable recycling bags creates a dramatic encounter when visiting the Florence Trust Summer Show.

Dancer Sara Ruddock embodied the primordial in a performance presented  by Mayra Martin Ganzinotti drawing on fusions between life, fossils and rock in deep time geology.

Patterns that appear familiar yet are from ancient ammonite fossils reach out from the past

Kristina Chan works into her screen prints on birch plywood to give them a sense of aging and decay and reflect the history and natural entropy of the objects depicted.

Visions Bleeding Edge Symposium on nonhuman vision, liquid and crystal intelligence and AI hosted by RCA research students. Esther Leslie, professor of Political Aesthetics at Birkbeck and Joanna Zylinska, professor of New Media and Communications at Goldsmiths gave fascinating talks.

I was stunned by the image of a single atom of the metal strontium suspended in electric fields Single Atom In An Ion Trap, captured using an ordinary digital camera on a long exposure shot by David Nadlinger who said “The idea of being able to see a single atom with the naked eye had struck me as a wonderfully direct and visceral bridge between the minuscule quantum world and our macroscopic reality.” The atom is visible in this photograph because it absorbs and re-emits the bright light of the laser.

Further in awe at visuals of digital clay – matter that can be manipulated as easily as pixels in Photoshop. Discussions included turbidity; the cloudiness or haziness of a fluid caused by large numbers of individual particles that are generally invisible to the naked eye, similar to smoke in air. The measurement of turbidity is a key test of water quality.  Liquid Intelligence – nature holding memories, matter looking back at us (surveillance).  Imprint of matter – radial atoms in bones. Process – tactile scanning, post optical photography at the nano level.

AI = The Anthropocene Imperative.

When a computer watches, what can it deduce?

Over the last ten years or so, powerful algorithms and artificial intelligence networks have enabled computers to “see” autonomously. What does it mean that “seeing” no longer requires a human “seer” in the loop?

Tevor Paglen’s “Sight Machine” demonstrates to a live audience how machines “see” the world. ‘One of the most important reasons to create art is to make known the unknown’ –  Obscura worked with Paglen’s team to develop the computer and video systems to take a live video feed of the renowned Kronos Quartet’s performance, run it through actual off-the-shelf artificial intelligence surveillance algorithms and project what the AIs see and how they interpret it onto a screen above the musicians.

With Paglen the framing becomes the work rather than what he shows. ( The parergon)

Artist Lauren McCarthy  offers to replace Alexa in your home. Bringing the human back. Lauren may not answer questions as quickly as Alexa but can respond with insight and emotion to your needs.

After Image at Victoria Miro. Which are the images that stay with you, burnt on your retina and loaded into memory, out of the thousands upon thousands of images consumed daily? Sarah Sze always nails it. 

Sarah Sze Images in Debris

The scrunched paper of the tree images – like dark matter has suddenly become visible.

The split stones were a second reminder recently of a time when Karen and I (aged about 12) used to ride our bikes to the beach to collect flint stones in our anorak hoods – bringing them back to ‘over the field’ and smashing them apart to see the colours inside.

Proliferation of pond weed  – vibrant matter in action

Sarah Sze Hammock (for A. Martin)

Superb work from Michelle Stuart in The Nature of Time at Alison Jacques Gallery, ‘Addressing the metaphysical while remaining profoundly rooted in in its own materiality.’

Michelle Stuart In the Beginning: Time and Dark Matter

Michelle Stuart Sacred Solstice Alignment

Into the dark recesses of The Horse Hospital for The Art Of Magic an exhibition and performance based on missing artefacts once housed in the archive of the Museum of Witchcraft and Magic.

Coloured strings first soaked in Alum dried over a wood fire and plaited together to form ‘a string of hurting’ they are worn wound around the neck, their purpose being to reduce swollen glands and restore loss of voice.

In the studio WIP testing ideas to relate the loss of knowledge of the night sky through urban light pollution to the unknown mysteries of the universe yet to be revealed.