Everything Moves So Swiftly
Wednesday 18th of May
Lance Pearce, A walking pole points toward Kŭmgangsan, North Korea. A walking pole points toward Wolchulsan, South Korea, (2015)
Everything Moves So Swiftly is an art project focused on a singular approach to producing sculpture. The artworks produced within the project take different and distinct forms but all consist of two individual yet interrelated elements: all sculptures are comprised of familiar objects and written language, specifically a title related to its object.
My sculpture consists of unaltered familiar objects, each with a title conveying a context – descriptive or narrative – relevant to its object. The objects have everyday uses, which mean that they contain already existing meanings (function, history, and material) that is the basis of the work. Each title communicates a description or narrative relevant to its object, inviting the viewer to make imaginative connections between different planes of space, time, and meaning. Although the artworks communicate real world stories, albeit sometimes fanciful, they remain nonetheless simple functional objects, so that there is a shuttling back and forth between the registers of the material object and its corresponding narrative. Titling strategies relating to non-conventional linguistic meaning (as an intensifying device and an interruption of representation) becomes a method for checking audience reception, trembling sense and common sense.
Initiated in everyday contexts (an emergence rather than a production) and primarily contextualised by the philosophy of Gilles Deleuze, this project aims to extend the existing scholarship on sculptural practice, conceptual art, and viewer participation, in the context of the under-theorised area of the ‘conceptual artwork’ as an affective encounter. Here, what is at stake, is not what the conceptual artwork means or represents, but what it is capable of, what affects it produces. Here, the title of the work, through its operations of naming, narrating, and intertwining, is deployed as a means of complicating notions of truth, representation, and temporality. Notably, I examine examples of conceptual art through the operations of naming or the title, creating a contribution to discourse on New Zealand and international contemporary art.
The project involves a working methodology of intuition. Through the process of intuition, different images and ideas for art works arrive unaccountably, becoming retained in my thinking and recorded in sketches and writing, over time developing and consolidating. As a practical method, some artworks become a kind of evidentiary object through methods where they play a role in an past event, later to be re-presented in an exhibition as ‘proof’ of that event.