In this context the drawing process is an attempt to meditate on the loss I have experienced and to capture the perceived representation of loss the 'Geldz√§hlerbrunnen' represents though as explained above it does not represent loss. This misinterpretation acts as a metaphor for the misguided or unwanted attention I bestow on the unwilling. This is acknowledged in my re-titling of the fountain as ‘Unerwidert’ (unrequited in German) which reclaims and represents the reading of the fountain. In my case this reclaiming of the fountain's meaning has the effect of ‘queering’ the fountain and the space in which it sits.

The ultimate reading of the work is an exploration of lost or unrequited love; in not drawing the water I refuse to ackowledge the passing of time. I attempt to remain close to the subject of my desire at least in time. In Berlin I used a camera to video the fountain. In recording the spouting water I acknowledge that time does pass despite my resistance to it, when it comes to present the work I intend to project the video; the projection will be on a small scale to reflect the intimate nature of the subject matter.

I’m also interested in the bench as a symbol of absence and presence at the location. The photograph of the bench represents a place in which one sits or waits. The Edinburgh bench which was intended to be re-named or re-dedicated is a component of the work. In discussing parks, fountains and benches I ask the audience to re-contextualise these democratic spaces from a ‘queer’ perspective.

In describing the work in detail on this blog the work itself is only partially made; it is itself unfulfilled or un-realised. As someone who reads this text you then are given the ingredients to imagine the work and a future in which it exists, as a result you unwittingly participate in imagining; so your full experience of the work is unrequited.

1 comment:

Alexander White said...

Nice work of art, really like it very much..

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