Emily Shevenock
Residence of New Hollows
![[Glasses]](https://i1.wp.com/www.burnmagazine.org/wp-content/uploads/2010/04/08_Markings.jpg?w=308&h=176&ssl=1 "[Glasses]")
![[Neck; Cup Contents]](https://i2.wp.com/www.burnmagazine.org/wp-content/uploads/2010/04/09_Markings.jpg?w=484&h=645&ssl=1 "[Neck; Cup Contents]")
![[Stone Granite]](https://i0.wp.com/www.burnmagazine.org/wp-content/uploads/2010/04/12_Markings.jpg?w=263&h=389&ssl=1 "[Stone Granite]")
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
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