Yew Grotesque

2012-12-03 17.23.54

I realised I was amidst a new work when, about 10 months ago, having taken my copy of Andre Breton’s Soluble Fish out for a walk, all windy at Nottingham Castle, writing before I knew it – Like staring at a zebra and being expected to talk about it – whilst overlooking the Inland Revenue offices. 

I’m happy to say this work, Yew Grotesque, is nearly done, with gratitude to Richard Whitelaw at Sound and Music, and Antony Mottershead and Hayley Skipper at the Forestry Commission for all their help. It’s been quite something hoisting up and writing in Grizedale from time to time. That treecreeper is not something I shall be forgetting. 

The book will hopefully see the light of day within a month or so, published via Compost and Height, and in the meantime, I’ve decided to post an image, text, film still, whathaveyou, a day. The idea being, that they have in some way or another played a part in the development of the work. 

This is not to say that I am presenting you with a method to be decoded, there is nothing at work here beyond appreciation, and gratitude. A slight homage, bereft of the bullshit one can only hope,  to those individuals who have reared up these last months.

 

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Yew Grotesques

Over the last year I have been visiting on and off various areas of the Lake District, centering around Grizedale Forest.
I have been writing a dialogue between 5 persons. 5 persons discussing listening, its impossibility, its luck, its disguise and its lack of physicality.
Now I am starting to compose a large number of scores for Stephen Cornford and Sarah Hughes, involving piles of soil and piles of tapes.
There are also a number of pinhole photographs involved, acetate, and glass.
All this should be put to good use at an undecided venue in Nottingham late next year.

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