Install image from solo exhibition Mantle/mantel at c3 Contemporary Art Space  photograph by Aaron Christopher Rees
       
     
Install image from solo exhibition Mantle/mantel at c3 Contemporary Art Space  photograph by Aaron Christopher Rees
       
     
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Install image from solo exhibition Mantle/mantel at c3 Contemporary Art Space  photograph by Aaron Christopher Rees
       
     
Install image from solo exhibition Mantle/mantel at c3 Contemporary Art Space photograph by Aaron Christopher Rees

Recasting the relationship between the body and painting, Mantle/mantel explored how material elements such as garment, sculpture, wall and lighting are implicated in the realisation of an artwork. Geometric shapes in the wall painting were reiterated in the surfaces of the garment and the shadows cast by the shelf, coalescing as a total composition. The resulting assemblage of surfaces elaborated Eckersley’s ongoing interest in the human subject implied in encounters with art.

Install image from solo exhibition Mantle/mantel at c3 Contemporary Art Space  photograph by Aaron Christopher Rees
       
     
Install image from solo exhibition Mantle/mantel at c3 Contemporary Art Space photograph by Aaron Christopher Rees

ANTONIA PONT

milk river

(after Agnes Martin)

I

can barely stay on it

nor look at it (I see

I've now become

frightened of you)

areas of dark white move

like fish beneath

like bruises—rounded, spoken:

submerged garden

pressing to flower after having

flowered.

border is barely different

but the difference holds

liquid from teeming

(to know I’m afraid

breaks me off in small pieces)

aftern oon. & relief’s

weather.

still house, since. and disks

of milksun cast across cat’s body

which seems a single

darkest bruise—

sunk through with light.

this work.

luckily my eyes see less

and less well, else

its grain would assail me:

photo image in a book

whose spine is not yet

broken (can one come back

from fear? its stream

must drizzle at a pace

integratable in a life—

yes questions of chemistry)

milk.

mayonnaise.

(the way I was so wet, so freshly

painted, with you

—our even pond)

border adjacent to the

pale, central piece. Held Area.

and I see

fingertips not taking

/ approaching: a just approach

to draw sobs.

—sobs from sheer patience

safer,

skin’s wait turned auditory

(today, earlier I read

high philosophy (kind, hard) then careened

below and parallel

to

concrete monument offsetting

sky. to music. flying in thought

through an air we might have named

there’s more and more

I will not have wired to you.)

beats along imperceptible lines,

fine species of metal ear

(my timid, listening eyes

and my person

having named fear

do not f— this painting

but might avoid it:)

pale,

held.

held to hold open. its formation,

apparently without noise, inscrutable:

art of ab. stain. ing.

from anticipation

( w/r/t futures’ width metre

saturation tone)

and now: [a list of all the words that sound

the sounds of colourless liquid]

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