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jez riley french - jez riley french - cp # 4

from 2018 (1) by verdure engraved

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current access restrictions stated on plastic coated notices around the site though often this space is used for tea breaks and social interaction is avoided near the workshop testing accompanied sat quite still whilst recording unusual perhaps this becomes a drive not so that photography night time long exposure really not for public release over-clothing supplied in a white plastic crate with boots all metal removed no phones no vehicle so walked ensuring no sparks though scaffolded building metal poles thrown raises smile recognition the rules seem unstable at best reflect on whether is interesting at all perhaps it is material added perceived transmitted rethought in digital form no sparks

living in the suburbs of a city means that its liminal spaces represent not a barrier between working life and some perceived country idyll, but rather a somewhat safe area of adventure. the empty warehouses and overgrown plots with only the outlines of buildings left can be seen as hard, ugly and tough - signals of decline, or one can begin to see the creative potential in these new wild spaces. here we, as a species, build and deconstruct. we allow weeds to slowly win the fight with the fresh businesses that find reasons to cut back on this or that - the repainting of corrugated walls, parking space lines, replacing signage letters fallen by the wind or stolen, and of course the time consuming spraying of unwanted flora and fauna on the concrete lawns once new and signalling growth of capital. a white line of thick paint, breaking here and there, faded and contrasted by a bright blue plastic sheet snagged on a fallen fence resonates in ones visual imagination. these random, overlooked ‘eyesores’ taught me about form and function

the power, water and chemical plants were always the least accessible of these inner-outer circles of activity around a city, guarded, fenced off and, now, watched over remotely by cameras. they were often the background of images - photographic or in the imagination. they were behind the sites one could get onto and one knew that even being on adjacent sites meant you risked been spotted by their security and told, in no uncertain terms, that all of these spaces weren’t your playground - but they were and they were more than that. they were educational spaces where one learnt how to look, how to listen and how to appreciate the simplicity of space - and those guarded plants were always the noise in their soundtracks. listening to the sound of an empty building or a plastic sheet being blown by the wind meant taking pleasure in the different layers of sound present in any and all locales. now, all of these brown field sites, even those with nothing on them except empty ground, are fenced off, contained. they have become increasingly valuable real estate to be held onto for future housing development. those who have grown out of the local playgrounds can no longer climb over the planks of wood or plywood gates that used to block access - now they have to break in, to risk criminal charges. only those who never understood the need for these unregulated sites of adventure don’t grasp the empty spaces left in neighbourhoods when they become inaccessible.

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from 2018 (1), released April 6, 2018

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