project image
Peter Hocking
AT THE COMING OF THE NIGHT (CYCLOPEAN STONEWARES)

first performed on August 18, 2017
Unsmoke Systems Artspace, Braddock, PA
performed once in 2017

THE 181

Brandon Boan, Brittany De Nigris, Abby Donovan, Jared Green, Aaron Keith Hoffer, Tom Hughes, Joe Netta, Jason Rhodes

Bend, OR / Concord, MA / Dover, DE / Eugene, OR / Hockesson, DE / Pittsburgh, PA

abbydonovan.com

AT THE COMING OF THE NIGHT (CYCLOPEAN STONEWARES)
THE 181

What is there to see? Only the shriek of metal on metal for response. Destruction or construction? No way to know. The stammered image, fragment of a face muzzy as a memory of a dream. I know her. I separate the signal from the noise: We are on, she says. It has begun. Start now.

Picture portals in planar wood and canvas, neon backsplashes floating hand-made pots, droning sounds reverberating uncrated urgency: Stages of Cyclopean Stonewares. THAT WAS MOLTEN. I recall: crawling and littering against optical viewfinders, at least two unreliable dioramas displaying other possible worlds, and obsidian stanchions of subtle intensity marking entrances and other exits.

Squeezing pulp to make a puddle of light leak onto the floor. A deep green puddle of light, extracted from soft, fuzzy, shiny, tangled. Gathered from behind the house. Overhead pink streaming, twisting and I also felt like I was observing an altar illuminated through colored glass again light spattering but color was actually draped over from the inside.

Everyday occurrences are called in for questions, repeat offenders subpoenaed, letter carriers swing for the fences. Findings suggest the layout of the space in question to be parallel to, and only a few tweaks away from, parts of the schematics of a holodeck. Careful and relentless fidgeting/shuffling/retooling toward the common goal of plurality in divine visions. What comes into focus at the crux of the overlap of shared and separate hallucinations, a guard centered in the pataphysical panopticon. It too is called in for questioning.

Without delving into the specifics of the formulas (and the calculations behind them), let’s just say that it has to do with mass, inertia, gravity, ellipses, the three dimensional nature of spheres, the cannibalistic tendencies of reflective imagery, the subtleties and subjectivity of color interpretation, the preservation quality of flame, etc., etc.

Now, if you doubt me, as I so slightly did myself, I recommend you try it for yourself. Although in order to save you a great deal of time and energy, let me say again that the outcome is guaranteed.

It could be more green. It could ripen. It could be easier to navigate. It could be one more closer. It could be a lot of different things. But really, it’s just not.