![]() ![]() And ‘rumpus’? Did it derive from ‘rumpus room’ – a space designated for children’s play? I cannot recall that in ’60s Ireland there were such rooms – my family’s living space was very formal, even television watching was like gathering around a hearth. The description of magnetic attraction as ‘impish’ could be taken from the Romantic era… Richard Holmes’ book The Age of wonder is high on my 2010 reading list. I don’t think of it as my workspace actual space, that active, live, relative entity is where I work. As for the workspace/ laptop scenario, I think of my laptop more as a useful tool I have come to depend on it for a lot of storage and connection. That, to me, is a good place to be, a good place for decision-making and self-criticism. I like to think of it as an antechamber to the reinvention of how we see and function in the physical world.Īs to the disruption of routine in the context of residencies, I think the act of change itself provides a stimulus to look at one’s practice as though from a distance. I think the Dadaist reference is relevant as well: the disruption in Rumpus room is a wish to lift the room and its contents into a mercurial condition, away from the norm, suspending their function and meaning. Magnetism is a new conceptual glue for me, it feigns volition, it has its own impish behaviours, and preserves randomness within the piece. It is a connector for me, via Rumpus room, with the changing context of the piece. There is a weblike structure in Rumpus room that is woven together with magnets this is portable, instantly achievable as a form, not unlike Sculpture for traveling, except that it has an element of self-assembly. How did I miss it? Stitching oneself into a changing environment makes perfect sense to me. Thanks for the introduction to Duchamp’s Sculpture for traveling – rubber strips cut from bathing caps, randomly assembled and extended with strings, what a brilliant piece. Maud Cotter: Your comment prompts fond memories of Williamsburg and the luxury of play in making Rumpus room. (I am thinking of Duchamp’s mutable, rubber Sculpture for traveling, 1918.) Residencies abroad have stymied several artists I know because they are denied access to the familiar in both their workspaces. My immediate reaction to the piece was a sense of almost Dada portability and of ‘play’. Tim Maul: My first physical encounter with your work was with Rumpus room, across the river in Williamsburg, Brooklyn at Point B’s exhibition space. Maud Cotter: Rumpus room, 2009, installation shot, Point B, Project Space, Williamsburg, New York courtesy the artist ![]()
0 Comments
Leave a Reply. |