An interpretation of ‘Dark Matter’ by Cornelia Parker:
“I operate very often in these ‘frozen moments’ where there’s been lots of action but this a sort of quiet corner of that…So it’s not the explosion, it’s more the contemplation, you know, the quiet contemplation of these things in the air and because the things are in the air, they haven’t got the pathos they would have had if they were on the ground. It takes away that kind of pathos, which is there when you see a lot of the debris on the ground after an explosion, well put it back in the air and it’s still got some life.” (Parker, 2014)
In contrast to the organised drawings of materials I showed in te previous post- I have collaged the materials of Jarman’s house into this replica of an intervention where all of the parts and components are arranged together in an explosion.
I have also been drawing the Jarman’s in sections, focusing on the interior and how it might be occupied by Jarman/ bird/ debris/ the garden (work in progress- bed needs to look more ‘decayed’). I am basing the design on the house on Jarman’s own description from his book:
“I call this room the Spring room; it is my writing room and bedroom, 12 ft x 10 of polished tongue and groove with a single window facing the sea. In front of the window is my desk: a simple 18th century elm table… To the left and right against the walls are two red cross medicine chests from an army surplus store; here I keep my clothes. A large oak chest dominates the room: it has 15th century panels . . . I keep my bedding in it. Next to it is a teak and khaki canvas campaign chair. On the wall are three paintings [two by Jarman, one by John Maybury]. . . . In the four corners of the room are driftwood staffs crowned with garlands of stone and polished bone. . . . Purple curtains shut out the winter stars”
This version of the drawing shows how different sections of the space might be seen at a larger scale according to the perspective of the bird and therefore the spaces are given a hierachy in terms of the transfer of their occupation to the bird: