Your England – Exhibition

Your England Web.jpgA journey into Englishness, from the Thames to the Lakes, industrial heartlands to chalk downs. Following tides and twittens, writing 100 poems along the way.

A park bench in Penrith, aviation at Shoreham by Sea, a skeleton in Margate, the Windrush in Brixton, bells of Whitechapel, The Lion Queen. Chalk and flint and wool and salt.

At Lombard Street Gallery, Margate from 28 Sep-8 Oct. Part of Margate Now, the offsite programme for the Turner Prize at Turner Contemporary.

Supported by Arts Council England.

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Estuary Lab – Discordianism

To introduce myself to the other artists taking part in Metal’s Estuary lab, I was asked to make a ten minute presentation about my work. I went at it… sideways.

After I was born, I lived in a small house with my mum and my nan. Number 33 Handley Road, Worthing. I was happy there. My nan still lives there. When I visit I always feel relaxed and calm. So – I like the number 33. It resonates, reverberates.

As a teenager I worked at the Connaught Theatre, Worthing – backstage. I left to join a small touring company, and that was where I learned – about conspiracies, about global patterns of power, about old religions, about mysteries, about Shakespeare. The director – Nick Young, trained at the RSC, staged a nude Romeo & Juliet in the 1970s – he was a good teacher.

The address was 33 Eriswell Road. We rehearsed in the front room. Next door, my office, store and workshop was in a little annex to the original house tacked on at the side.
33. It figured, I thought.

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Years later, I moved from being production manager to Rainbow Theatre to putting together my own things (and all of that happened because I spent time hanging out on a Shoreham houseboat, Yerba Buena, which had been Nick Young’s home when he started Rainbow – and I was working on a series of colour-themed art happenings on board). I followed a path from the KLF and the Illuminati, to the K Foundation and contemporary art, to Bill Drummond – and I brought Bill down to Worthing.

Through reading about his work, and his training under Ken Campbell, working on the Illuminatus Trilogy, I came across Discordianism.

From Wikipedia:
Discordianism is a religion and subsequent philosophy based on the veneration or worship of Discordia, the Goddess of chaos, or archetypes or ideals associated with her. It was founded after the 1963 publication of its holy book, the Principia Discordia, written by Greg Hill with Kerry Wendell Thornley, the two working under the pseudonyms Malaclypse the Younger and Omar Khayyam Ravenhurst.

The religion has been likened to Zen based on similarities with absurdist interpretations of the Rinzai school, as well as Taoist philosophy. Discordianism is centered on the idea that both order and disorder are illusions imposed on the universe by the human nervous system, and that neither of these illusions of apparent order and disorder is any more accurate or objectively true than the other.

There is some division as to whether it should be regarded as a parody religion, and if so to what degree

Now it turns out that I’d brushed up against Discordianism a few times – Bob Dobbs and the Church of Subgenius, the Slackers. A real parody religion rooted in Discodian ideas.

I discovered Bob as a teenager in Brighton. In the old Jubilee Market – Tesco before the market, the Komedia these days – the Bob Dobbs gang had a stall selling stickers, T-shirts and slipmats. I bought in to this mysterious, enigmatic character and a philosophy of calm, acceptance, slack.

Everything the KLF did, you see, led me elsewhere. And all those KLF videos and their sleeves covered in pyramids – the Justified Ancients of Mu Mu, the JAMMS.

(and – that led me to uncover the thing the KLF sampled, to the MC5, to finding out my dad had seen the MC5 in a field outside Worthing, to my sister working in their hometown Ann Arbor, to me visiting her in Michigan and standing outside their old communal house – but – that’s another story.)

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And that number 33. Well, the Discordianists like numbers:

The Law of Fives states simply that: All things happen in fives, or are divisible by or are multiples of five, or are somehow directly or indirectly appropriate to 5. The Law of Fives is never wrong.
— Malaclypse the Younger, Principia Discordia, Page 00016

The real point of the Law of Fives is that it as a symbol for the observation of reality changing that which is being observed in the observer’s mind.

When you looks for fives or thirty-threes you find them, when you look for conspiracies, ways to determine when the apocalypse will come, connections, you will find them.

So Discordianism worked, it reverberated. It still echoes through the things I do:
Chaos. Magic. Making up religions. Finding connections. Following threads.

About ten years ago, Nick Young moved from his house at 33 Eriswell Road.
Just before he moved, he uncovered something strange after dowsing in the house. Under the front room floor, under the floor we rehearsed the company on, was a well. An ancient well.

A well dedicated to the goddess Eris. And who’s she? Well. I talked about her earlier, under her new name.

The older name, the Roman name, for the Goddess Discordia – was Eris.

 

Estuary 16

Estuary is a new, biennial arts festival curated in response to the spectacular Thames Estuary and presented in culturally significant and historic venues along the Essex and Kent shorelines.  An exciting mix of new and existing works will pull together powerful themes resonant to the place, its history, landscape and communities in an ambitious programme of contemporary art, literature, film and music.

From the Metal blog.

 

I’m among the artists creating new work for the first Estuary biennial. Metal are making it all happen, and brought together a small group of us to work alongside each other and explore Southend, Tilbury and other significant sites along the Estuary for a week.

The places we saw are truly magical – real industrial edgelands with layers of use, occupation and meaning. Places at the end and the beginning of so many English stories. Making it an incredible commission; a chance to weave together all sorts of fragments, places, moments in time. Can I live up to all the possibility? We’ll see.

From my original proposal to Metal:

As I sit here, I can see the full spread of the Thames Estuary; the Isle of Grain, wind farms, the sea forts, the constant tides and changing shipping. At night, Southend sparkles on the horizon. I live eight floors up in Arlington House, Margate, big aluminium-framed windows facing down the estuary. In winter I huddle down and watch storms build and move along the shore, and in summer slide the windows right back to let in warm sun and the sounds of play.

The estuary’s an impressive space. Where I was born, the sea is on the south and is somehow smaller. The sea and sky here is huge.  And this view is one which is full of stories, as well as surrounded by estuary-side towns with their own tales. Submarines and pirate radio, independent nation states and messages in bottles, migrant seabirds and immigrant communities, containers full of Chinese-made knick-knacks, the rusted skeletons of crashed Zeppelins, the last flight of a Vulcan A-bomber.