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PICA

I was asked to make a work in response to a series of drawings that my good friend Tim Carter had made. The drawings were bantam and precious, with lines constructing triangles as they emerged from various points and intersected numerous times. The colours were limited; shades of yellow, orange and black. Given the pleasure of possessing some prior knowledge of Carter's esteemed 'uvre, I sensed that the drawings were perhaps screen tests or diagrams for speculative cinematic experiences, as a part of an ongoing dialogue between the personal, and the cinematic. As I mulled over the drawings and recalled my own cinematic experiences, I recognised a vague resemblance to the case cover of the timeless surf film Endless Summer 2. With Carter's diagrams in mind, I watched Endless Summer 2 and took note of every point at which there is a camera lens depicted in the film; the original province of what is to end up on the screen. From here, I attempted to talk in response to the dialogue in the film, resulting in a conversation with whoever was speaking in the film at the time, Bruce Brown, Robert 'Wingnut' Weaver, or Patrick O'Connell. We talked about some plans for some things. I recalled Robert Barry's electromagnetic energy field as an appropriate medium for communicating our findings, only in this instance a small transmitter would emit energy waves that correspond with our dialogue, achieving a sculpture that is experiential, although immeasurable and immaterial, like an endless summer. 2010
Electromagnetic energy transmitter
Dimensions variable
Courtesy of the artist