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Emily Shevenock
Residence of New Hollows
Poetry first published December 2009 in 2River
Assertions Gained from a Sensitive Influx, a Series of Sensations, and Detached Expressions and Promptings from the Imagination
[A tiny booklet; defining characteristics on the scenes of the wall and room space]:
Images notate references of the environmental climate, or a foreseen environmental proposition of an allocentric, societal observation re-marking selfhood. The climate simply alludes; contradicts; and/or complements, in variances of subjective through objective response, the scenes within an introverted, solitary self. Depending on color language and subject in a series, the latter sentence may fit in reverse, the image appearing first as the social workings and interpersonal impulses of the human condition, the inner self underlying. However fragmented or “fragmented” the idea of hollow becomes in relation to a binding by societal constraints, inherently it suggests allegorically the inhibiting of the “the artist” and her pulsation of medium. Though, this societal inhibiting should not entirely color, or become the sole factor or foundation intending the context of the book. In someway, there is no intention but to document “erratically” (“irrationally”)1 then transfer rationally into proper proportions. Proportions reason a project, changing radically from project to project, and through articulation—asymmetry is symmetry where Project 1 is in relation to Project 2, or vice versa. Although wholly contained in their own compartments, language and visuals frequently meld, becoming somewhat inseparable. I stress the melding of language and image just as I stress the document or photograph explained into further details by my inner response –which is not necessarily subjective—but an objective/detached understanding of unseen information2 in the environment combined with the understanding of the literal, outer, surface environment. More concisely, this combination reveals [objective] subtext into tangibility. Through additional surface definition to each image, the resulting visual qualities render a series into its complexity. Working with an image series until it “appears correct,” is described above, yet also intuitive. Enhanced through color language (within) or lack of color (without), the work is dealt through multiple series all at once, beginning spontaneously, sometimes predefining the message before taking any [given] image/s, though usually not. The only method always adhered to is the full frame/never cropping. Projects ultimately are layered, and can be viewed in sections, yet layer again into entire books or exhibits, including texts of short fiction and writings. The results form a cohesive, complete work in seamless fragmentation.3
Historical Relevance: Subjectivity or emotion might continually elude intra-historical relevance by appearing instead as objective expression through the immediacy of articulated perception.4
I have been writing for quite a long time. Halfway through what life has done yet not fixed, age XV, I used an inherited Japanese Topcon. It was taken to a camera shop once, then broke again and bordered useless. X X X. Artistically, I learned to use what I could, implying only that which allows itself to be used.
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Notes:
1 Please note the necessity of placing the erratic and the irrational within quotation marks. Set more singularly [without doing so], the terms are as fit as demeaning the entire rationale of hollows, as they are ever subject to [antiquated] prejudice/s.
2 The senses are alluded to here. I make no distinction as to how many; too much theory is simply cheating (theory out of context is sincerely thrilling). Also alluded, [and] in combination are the inter-personal and intra-personal.
3 Ultimately a narrative [cohesiveness] is formed, at times aesthetics and/or content associates, or not. Attempting to differentiate between confused or cohesive in a final work is absurd. To define subtle or “subtle” is the seam [opposite]. Clarification is the penultimate in seamless fragmentation.
4 Biography; specifically the artist’s– Please note historical relevance [goes] hollow. This again is allusion to the allegory, but even the allegory negated, it interrupts any intra-binding to rigid boundaries. This is a voluntary; intra-history pauses [during the project] then [perhaps or sometimes] repeats itself during other courses of the non-project.
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Other Shows and Publications from The Residence of New Hollows:
INVISIBLE CITY, ISSUE 4, DANGEROUS BODIES, JULY/AUG 2009
SYDNEY, AUSTRALIA
5 photographs selected from the essays “Baby Pillow” and “Bard Motel,” www.invisiblecity.org
Online magazine exploring the “contemporary theoretical idea” curated by Marlaina Read
POSTCARDS FROM THE EDGE, JAN 2009
METRO PICTURES, NEW YORK, NY
4 x 6 ink-jet print, origins of toned silver gelatin, titled Glasses from the series Markings
1/10 sold for Visual AIDS though the gallery auction
2/10 sold by gallery placing me in contact with art collector
Related links
Michael Webster: I explained its too late for that (writing the way you think I should write). I said: someday in my 50′s I will re-entertain the same sparse and bare prose I did in my twenties. Until then, I find your comments utterly rude. Its clear we don’t have the same tastes in literature. None of that would have mattered, had you not chosen to become verbally abusive in your commentary.
Hi Emily,
Congrats on getting your work on Burn, but regarding the essay I agree with Michael Webster. The writing seems needlessly convoluted and full of jargon. Whether or not this is deliberate (a post-postmodern gesture or joke) makes no difference to me; I just don’t find apparent obfuscation or lack of clarity interesting or aesthetically pleasing. Regarding the visual essay, there are some interesting images, but again the writing (for me) is a distraction, particularly the slots given to single italicised words in square brackets, made even more precious, and less interesting, by the overlong time-interval each is granted. Just my opinion of course, and, once more, my congratulations, and I wish you the best with your endeavors.
Speaking of motorbikes though (and photography), this came to mind: http://www.angelfire.com/extreme4/kiddofspeed/index.html
Check out her Chernobyl diaries.
Not sure how I’m being verbally abusive? Certainly not purposefully. I’ve seen plenty of examples of people making post-modern gestures (nice way of phrasing it mark g) that read similarly. I’ve done it myself. But yes, I understood that I would come off as unduly harsh if you were serious. I honestly didn’t know. My advice about seeking good writing is good advice though. And sincere. I don’t mean it as an insult. It’s nothing to do with how I think you, or anyone else, should write. It’s a big part of how most writers learn. Good writing is a much harsher critic than I, true, but a much better teacher as well.
Anyway, sorry. I meant well.
“I said: someday in my 50’s I will re-entertain the same sparse and bare prose I did in my twenties. Until then, I find your comments utterly rude. Its clear we don’t have the same tastes in literature. None of that would have mattered, had you not chosen to become verbally abusive in your commentary.”…… Emily that it is a dead end comment and reduces your audience, better to re explain what you are driving at.
Hello Emily,
I think this work is really great,the writing and the photos go together really well.
thank you for sharing your work….
A list of literary magazines: http://www.newpages.com/literary-magazines. For the emerging or mid-career writer and/or poet. Its true I need to submit more and buy a printer for those that don’t take online submissions.
EMILY…
i am vaguely aware that you wanted a word change in your opening paragraph, yet i have no clue which one and changed to ?? my email to you on this issue has so far gone unanswered….please let me know one way or another, and i will make the necessary change..
cheers, david
Emily,
Sorry but i’m in the urghhhhh camp on this essay. Much of it has been said so I won’t reiterate.
I have reviewed the piece probably six times at this stage since published, deleted my comments prior to posting on at least 3 of those occasions, but no matter what angle I view from, I just can’t get it.
I sincerely hope some day I’ll understand. There is something there I suspect. It is however, at present, just too far off for me. Then again I suspect your intended audience wouldn’t be of my “type” (hah! whatever that is – can’t believe I came to that conclusion or description – thought I was open for anything).
I did read the text footnotes, subnotes, italicised, bracketed, etc…, etc…, but even on subsequent viewing I find no emotion, no decipherable story, lack of particular purpose, hard to understand, and generally – yeah, I just don’t get it.
I appreciate it may also be hard to get across what it is your essay was/is trying to say in words but for me (and i may be quite wrong) I should be drawn by the content – imagery and text.
But, with that all being said, from what I read in the totality of the comments – some people do obviously get ‘it’ and fair play to them – I salute them and their level of understanding/acceptance.
But, having not gotten the piece I do have to say that I am so pleased that your work has been published and showcased here on burn, and feel it is most worthy (even if i don’t get it) :) – congratulations.
Much respect and peace to you,
Cheers.
Hi David–I did email you–yesterday in fact. An RE. I just forwarded you the email…so you can see for yourself. Please post here again should the mail not find its way to you (again).
Tommy: Peace.
Legal/Copyright
Confidentiality Notice: This Project and all of its contents, including any attachments, enhancements, comments and embedded files were meant for the sole purpose of this website only. Any copying, forwarding, extensive note writing on this Project and its elements is strictly forbidden. Any use of the ideas, concepts, and/or selling or trading of it in whole and/or in parts will be subject to examining Trade Dress and The Visual Artists Rights Act of 1990 (VARA) belonging to the artist and her artistic integrity, the violation of which will ultimately result in arbitration set in the to be determined section of New York City. Thanks!
Wait ’til the bos in the know in Bullamakenka get their grubby hands on this………… ideas concepts jeez there are rabbits out there who sell this stuff wholesale
Legal/Copyright
Confidentiality Notice: This Project and all of its contents, including any attachments, enhancements, comments and embedded files were meant for the sole purpose of this website only. Any copying, forwarding, extensive note writing on this website and its elements is strictly forbidden. Any use of the ideas, concepts, and/or selling or trading of it in whole and/or in parts will be subject to examining Trade Dress and The Visual Artists Rights Act of 1990 (VARA) belonging to the artist and her artistic integrity, the violation of which will ultimately result in arbitration set in the to be determined section of New York City. Thanks!
extensive note writing on this website and its elements is strictly forbidden… belonging to her artistic integrity… result in arbitration set in the to be determined section of New York City…
Badum-Ching… Ba-Dum PSH!
¨comments¨
emily – i just told the chess story to a friend..
besides my comment is already © bowen 2010
..
moral rights exerted..
;ø)
Bet you’re a barrel of laughs to get stuck in a lift with.
• The artist in residence(Raelene) at Bullamakenka and her sponsor Mick is proposing a collaborative artwork with Greg from “Eternity Stud”……….. an eclectic appropriation with a smack of irony all in a re contextualised mix called “Podges’ Hodge”
Night, night Emily.