The Eyes, the Hands & the Sea

Tomorrow at Zinefest we are launching a three illustrator showcase collection. Three zines wrapped together by Marc Conaco, Elijah Lamont & Nicola Brady.

Come by our table and check it out.

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Zinefest is at St Kevin’s Arcade, Auckland, 12noon – 5pm, 27th July 2013


excuses/justifications/home/again – by Max Trevor Thomas Edmond

The below was performed by Max Trevor Thomas Edmond at the launch of issue 11 in reference to Homenesses printed in the issue.

i submitted homenesses as a text to be read and not as speech.
as having as little as possible to do with speech and as maybe unspeakable.

incongruences between the two made apparent by reading writing aloud.

in space between representation as text and as speech.

not simply or necessarily problematic in terms of communicating. different modes of signification, different conceptual approaches, different pretensions.
problematic when in terms of reducing one to the other. translating from one to the other, trying to retain the same meaning.

I.e. which is as home and which is as guest.

also still following habits/patterns of writing as in general removed from those of speech.
Also personally more entrenched writing habits – being more strongly possessed by writing than speaking as a creative vehicle.

speech as necessarily translated from a text, neednt be run through another. a written text

right now, writing as writing, though intending toward speech,
writing towards presentation as speech. incorporation of the element of speech into the wording.
opening a capacity for speech.
knowing the failures in advance.

though not necessarily trying to make it speakable either. reduction to what is convenient for speech getting in the way of expression through writing.
as with conventions in general.

to build a conceptual or thematic structure – falling back upon writing processes – returning home –
though already bastardised by the necesary reading aloud.
already unheimlich.

writing in terms of how i would comfortably speak. no way it’s going to come across as not completely constructed. so back to stilted.
preferably more awkward than correct.
in representation of the capacities or limits of my writing practice.
as how i wold comfortably speak or have myself represented.

i neednt remain tied to the practice of speaking. i dont need to sound like im speaking. only like im acting.
as playing a role the viewer is aware i am playing. aware of the artifice.

representation as already the out of home. the concept represented by or in home as also the in itself of an object.
the re- represents an out of home of the object.
The home or inhabitant again somewhere else.
the representation is a house or housing – bringing homenesses out into a public.

a text as traditionally and instrinsically on the pretention that it re-presents – ideas – movements – structures, which have their home elsewhere.
i.e. taking them from their home and placing them in another environment.

potroast and its theme as home as housing whatever submitted content – as an invitation to guests to like a themed party,
potroast housing a theme as home only of certain guests. certain presentations of guests.

then each piece submitted as a rehousing of the theme, a way of arranging the home.
situation in/by or to a different environment.

this text-speech-act as another rehousing, and its translation into or compromise with speech as another.

as neither speech nor writing as such but theatre.
theatre as further from home or more pretentious than speech or writing.
the audience congregating under pretense or pretention of being-audience.
as audience to specific show, view, showing or viewing.
ie no longer as such private ie no longer home – contrived – uncomfortable – unheimlich – further removal
contrivance and discomfort deferred to locate the cultural enjoyment.
tolerance as adding to the value of the pretense.

various removals – repeated removals – insistent layerings
the effort to leave a home adding to the value or at least the expectation. the effort to be immersed in something to be later represented.
as theatrical representation – to which ive already submitted.
theatrical self representation. representation by a theatrical self. representation as self via theatre.

A chat with Heidi Brickell

We caught up with Heidi Brickell after her recent show at Rm. Two of her paintings are featured in Potroast Issue 11.

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Potroast: How is your day going?    
Heidi: Mercifully fluid, and unforced. I’m in still in bed and I’ve accomplished a lot.

PT: Tell us a bit about what you’re working on at the moment
H: Well, I’ve just presented a show at Rm last week, so now I’m in a familiar post- exhibition pattern: lots of ideas blossoming and hoping I’ll find time amongst all the demands of things I’m catching back up on, to experiment with some of them before they go stale. I’m thinking about comedy, I guess, as a general theme.

PT: What can you tell us about the two works that are included in Potroast #11?
H: They are very painting concerned paintings, by which I mean, they are concerned with trying to find a space between their corporeality or objecthood and the natural symbolic projections they invite. They are both quite landscape-ish. I think that something they are both concerned with is setting up a language that declares their own opacity as an object – just making their surfaces catch your attention, through the way the fronds of the brushes used show, and by allowing portions of the cotton duck and its weave to contribute to the painted image as a whole. Also, glueing more of it on in a way that tries to make the animal fat in the primer I use sort of seductive, or maybe repulsive; and then trying to refigure old push and pull tropes with the paint, like receding colours and scales, in ways that are unexpected, so that your body somehow believes that it is apprehending a window into a distance.

I guess in terms of the ‘values’ they talk to, there is a romanticism in both of them which is mediated in different ways… in the red and coal and silvery one, by so many clumsy, amateurish marks.. and in the more compact reds and fleshes with blue, I think more by the way it is pieced together as an image on the canvas and by the brown spills on the raw stretched part.

PT: The works in Potroast #11 are both oil on canvas. Do you feel a particular attachment to painting as a medium?
H: I don’t know. I can’t figure out whether my perpetual return to it is because of nature or nurture.

PT: With the theme of this issue being ‘home’, can you describe what you think of when you think of home?
H: Maybe it is the place that you feel your own subjectivity is appreciated, so it’s some mediation between a shared and an idiosyncratic (or relatively ‘original’) understanding of an environment and your place within it.

Maybe another way of thinking of home is a sort of anthropomorphic projection of your body. So your body is sort of the container that your consciousness travels and carves its way in the outside world in, and a home is a place that in a sense the boundary walls of self extend to the perimeters of a house or landscape or group. An inside/outside inversability?

PT: What are you reading at the moment?
H: Ngā Tautohetohe: Years of Anger by Ranginui Walker – a compilation of his articles for the listener from the 1970s up until 1987 discussing the effects of colonialism from a Māori perspective, emphasising the disparity in narratives between Māori and Pakeha cultures that frame ways in which people understood New Zealand to have been settled.

Aaand Player Piano by Kurt Vonnegut… so so enjoyable.. I can’t figure out why.. I don’t think its social parody is so particularly insightful, I think it is the fleshy pictures of the characters in the story.

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