yellow, no sleep at night
by jake moore
Walter Phillips Gallery, Banff, Alberta
"...pure time is the vector of erosion, of passing away; pure space is the domain of flow, of the nomadic passing by. But place is the point of their intersection, the spatial point at which the temporal instant can leave a trace as a historical moment or event. Place then centres, grounds, brings permanence, underwrites community - placemaking is the binding of time and space into a knot, a stitch that holds."¹
Just as individual identity is not fixed either is the identity, or meaning, of a place. Layers of experience and culture rest on this topography, providing multiple meanings and values to multiple cultures.
the past is a place
i am a visitor there
as history is a thing constantly in the act of becoming.
The premise I am operating under is that "history" is a constructed narrative and as such it needs to be continuously revisited to assure the inclusion of voices and circumstances discounted or undervalued at earlier writings. It is of interest to me that events which are in the past are constantly in an act of becoming when one assumes this inclusionary approach. This suggests a non-linear nature of time and provides a creative skeleton upon which to build a narrative. While it does challenge notions of truth or fixed meaning it creates a more real, (unfixed and multiple), environment from which to view events, one aware of context, of who benefits and who pays, and of whom is telling the story.
i am afraid. how do i speak these stories.
many cultures say you should not speak another family's story as it is not yours to tell.
When looking at an image often distance from it will provide clarity. The same can be said of looking back in time; that the further away the moment is the clearer we believe we can see it. Is this truly a clear vision or is it one of omission? If the particles that would cloud or confuse a desired image can be filtered out in time or distance, the resulting image is selective and partial, (only indicative of that part of the moment in time). Certainly there is more than one experience to be had of any one moment - even that experience will be tempered by context, and, one's identity's reception within that context.
In my own culture, to tell another persons story is to gossip - to not tell the whole truth - to tell a story out of context.
i think of all the stories, (myths, histories) that I know, that are held within a single site.
In _Yellow_ my process is to peel back the layers, (pull off the covers) that cover these histories and introduce new objects and sensory experiences in hopes of creating a poetic circumstance; one where the meanings of these everyday objects and this place become unsettled. Once these meanings and associations have been upset the viewer must become a participant in creating new meaning from the circumstance. The meaning created is the product of the viewer/participant and need not be related to my own initial motivation. The work will have served its purpose if it has allowed one to enter that internal space where we conjure meaning, and the body and mind act as one.
i will have told no one else's stories.
1. Shields, Rob, Between Views, exhibition catalogue for "Between Views and Points of View, a series of six projects commissioned by the Walter Phillips Gallery 1991, WPG, 1991