Tuesday, 1 November 2011

Edges Are Sharp, Edges Are Blurred (Arctic journal #8)

Oct 2, 2011
Carry the water. It pools at the back of the Zodiac, tilting back into the sea. At the surface of the water, the air is freezing. Scrape the bottom of the boat, landing on a gravel shore. It is warmer here - some hills of snow, ground spill gently into a bay of still water. Snow melts into gravel and mud beaches. Algae coral look like flakes of cereal, grain on the beach.

We are meerkats popping our heads up and down over the snow hills, looking for our own spaces to work, or stare, or record, or perform. I stand, listening, still into the wind. I hear cracking and rumbling of thunder, detonations. The ice is active, falling into the sea, tearing itself apart. The earth splitting.
There are only two colours here: black and white. They blend into grey. The haze moves in and out. Sometimes the far ridge is clear and close, other times it is hidden behind the fog with undefined edges, in contrast to the sharpness of the cold. All edges are sharp on my skin in this dry cold, but all edges are blurred in the landscape. (in the snow, there are no sharp edges).

Landscape itself does little for me unless I can activate it. (Sophia says "humans are psychologically programmed to be most interesting in faces.") I need to build up heat under these layers.
"Are you going to run?"
I need to provoke it, seduce it, antagonise it, threaten it with diminution. We have guns, we are already antagonising it. We are looking for white on white (hollow fibres that refract light to look white).
Marcelo searches, tags, categorises, measures, photographs the objects he tags. To identify and locate.

ARCTIC 109: the sound of deep wind and ice crystals hitting the microphone
ARCTIC 113: standing still on a hill, looking over the bay, Paul motionless.
ARCTIC 111: Walking slowly towards Jessica, from blurry to in focus. She is photographing.
ARCTIC 139: Marcelo asleep, silhouetted by the porthole. Engine, water gurgling, deep breathing.
ARCTIC 116: Michelle, ship in the distance, her gun, her boots, her face. She's looking in the distance for Polar Bears.

These artists are numerous aspects of the same person. How does each approach the environment? How does each interpret this event? These circumstances?
(Jessica, mourning, in a jacket and veil, collecting light with solar panels. Will she encounter Paul's fossil fuel plant?)

ARCTIC 106: Boots walking in snow: clear sound, crisp.