sun

MS: The even light of Nobson doesn’t come from a point source such as the sun. The oblique projection of the drawings means there’s no horizon — the sun is beyond the horizon, outside the frame of the drawings, in a place you can’t go.

But this doesn’t mean there is no sun. Detached from its connection with illumination, this sun is a sink hole, black hole. Absent and shedding no light, the sun is present as a reference point or principle of origin and destination, a singularity. A philosophical concept associated with such a principle is arche (origin, beginning, authority, sovereignty), the etymological root of architecture, archive, and archaeology. And singularities, points or dots with no dimensions, are ambiguous, both positive and negative simultaneously.

In terms of the metabolic processes, the alimentary flows of the body politic that is Nobson, the sun is solar anus — the hole, the opening from which things come, birth, the origin of life and energy, of excess, of what is not needed to sustain simply the life of one individual. Egg and faeces, excess and waste, are connected.

In Nobson the sun appears as a monument (in Nobsunshine the monument depicts a faecal form subject to increasing elaboration and binding). Sometimes the sun is a geometric form, a star-shaped form on rugs. In relation to time, as an origin, dot, point beyond time, the sun is a clock face without hands, a circumference with a dot at the center — zero o’clock, all the time.

And the solar anus is the basis of egg face.

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PN: This is what the sun looks like in Nobson.

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PN: Nobson separates Sun and Light - that is, what lights Nobson isn't the sun. (And this is ignoring the aspect of Nobson that is illumination - word made pictorial shedding light...)

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PN: How to break this down? Time doesn't pass in Nobson there is only the recorded present - the moment that you - the viewer - looks at the work - and more significantly for me approximately 10.45am or the time that we associate a particular kind of shadow with - the 45˚shadow. Light falls evenly from the left hand side. The light must come from a prism or angled slats that are somehow above but parallel to the land. Light = brightness, or Tone. I mostly use hard (or technical pencils) 4h,5h,6h,7h,8h & 9h. Each of these hardnesses have their own tone - or a darkness they can't go beyond. The more 9h pencil you apply to your paper doesn't increase it's darkness, it simply compresses the paper so that it becomes shiny, reflective and thus a pale mirror.

PN: So what is the Sun?

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PN: This is 'Sea VI' 2005/7 2m wide x 2.81m high. The sun is only seen to exist above the horizon. There is no horizon in the open planes of oblique projection. The sun is not light but represents the other, the thing beyond, the place we can't go, we can't go beyond the horizon if it isn't there.

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PN: This is 'Sea V', 2005 2m x 3m. This is something you might recognise, being from Blyth. The horizon disappears between the sky and the sea and there is no more distance anymore, the horizon is right in front of you. Does the mean that we are the 'other'. We are already beyond the horizon. Or are we on the wrong side? But back to the sun ...

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PN: I designed a series of rugs. At first I was thinking about yoga and yoga mats - of being on the ground, and then, being on the ground looking up. The designs on the rugs are of kinds of 'suns'.

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PN: The rugs were to lay on while listening to a sound poem I wrote, read by Laetitia Sadier. This is the poem: Eye c thus he, I see thus he, Icy one t t t, Eye sea thus he, t sssss t wave, I see thusee, Icy thuh c, I c g-round, Grrrr ound, I see g-round, roundotodot grrrrr, Grrrrr roundot, roundotodot t t t wave, Icy thus he, Icy wave, rrrrr roundotodot, grrrrr, roundotodot, roundotodot, Roundotodot

dot o o tod

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