TAMLYN 11

TAMLYN 11


ARTIST MATT DALBY

PART OF THE MANCHESTER ART CRAWL

BLOGhttp://tamlyn11.tumblr.com/

TAMLYN will be a text/image/durational performance work drawing on aspects of my existing works ) TH GOOD /OLD W~AY, visual poem boxes, and my @soundpoet twitter feed. The work will continue to be created throughout the duration of the Art Crawl, though it is anticipated that the majority of work will take place on the weekends 2-3, 9-10 and 16 July.

) TH GOOD /OLD W~AY is a poem created using a moveable rubber type ink stamp.

The visual poem boxes are designed to be (and have been*) exhibited interspersed among other works. My @soundpoet twitter feed features brief descriptions from around the city.

TAMLYN will be a non-sequential text/image/durational performance work consisting of text chalked in a variety of locations, tweets sent from those locations and between them, and photographs from these locations and between them. Objects will also be made and/or left in some locations, and materials gathered to make objects at a later stage.

Like both ) TH GOOD /OLD W~AY and my @soundpoet twitter feed the text and other elements of the work will not be pre-composed, but will be created in response to the locations and circumstances on the day. TAMLYN will be partly documented on a specifically created blog, and will use the existing @soundpoet twitter feed with a dedicated #Tamlyn hashtag. The blog will only carry text and images that constitute part of the work TAMLYN. Any reflective writing will be carried by my regular blog santiago’s dead wasp.

The chalk text will be photographed, but not every chalk text will be documented on the blog. Only a small number of chalk texts (if any) will duplicate or be duplicated by tweets.

The tweets will be documented on the blog. The subject of some of the tweets will also be captured in photographs which will also be documented on the blog, but only a small number.

Not every location that has a tweet associated with it will be photographed, and not every location that is photographed will have a tweet associated with it.

Materials gathered to make objects, the making of objects, and objects left in locations will be photographed. Some of these photographs will be documented on the blog.

Some sites will be revisited at intervals throughout the Art Crawl.

*At London’s Pigeon Wing Gallery and New York’s AC Institute as part of the linked Writing/Exhibition/Publication and Department of Micro-Poetics exhibitions respectively, and at the Bury Museum and Art Gallery and Bury Transport Museum as part of the Wonder Rooms and A Map of You exhibitions in the Text Festival.

How the Art Crawl will benefit my practice

Two aspects of my practice that are currently underexplored are an understanding of how my art might fit into and enter dialogue with spaces, and different ways in which durational works might unfold. My proposal for the Art Crawl would seem to address both these. It also addresses questions of how, and for what purpose, work is documented.

The Art Crawl will benefit my practice in these areas by forcing me to interact with a range of unconventional locations. Each of which I will have to contemplate quadruply as an actual physical location that someone will visit, as a potential site for a temporary textual intervention, as a site to be captured and represented (or misrepresented) by a photograph, and as a location to be described linguistically, or within which an event that is described linguistically might take place.

I have only recently begun to consider questions of how my art might fit into and enter dialogue with spaces as a result of installing my own work for A Map of You at Bury Transport Museum in the the Text Festival. I had some idea of this as regards my soundworks and performances, but had not previously considered it in connection with my visual, sculptural, or visual text works.

Similarly my understanding of how durational works might unfold has been confined to two extended performances/soundworks, and one time-limited live art work.

Additionally the process will require me to integrate normally diverse aspects of my practice. There is not usually much overlap between the textual, the visual, and the performative aspects of my work. My photography is normally used as a functional recording medium more than a creative medium.

It is further expected that TAMLYN will only be the beginning of an interrogation of the aspects of my practice identified.