Drawing inspiration from or alluding to poetry or literature, as well as directly using written word is what brings together the artworks presented here.
Lelong & CO.
And I Alone, 2020
All Our Strength and All Our Sweetness, 2019
Air de Paris
This text is a quotation from a Metaphysical poem written by Andrew Marvell. It is considered one of the best recognized carpe diem poems in English. The lines are taken from the last stanza of the poem where the lover urges his beloved to give up her resistance to his embraces while they are still passionately in love, and to fly over the moon with him, to triumph over time itself, and to give the sun a run for his money.
The painting depicts the brave lovers making their way through the barriers of conventional life and triumphantly reaching toward ecstacy. And in Dorothy Iannone’s version of these famous lines, it almost seems that it is the woman who is leading the way.
Footpath A 23 Day Coast To Coast Walk Through The Pyrenees From The Atlantic Ocean To The Mediterranean Sea France And Spain Summer 2012, 2012
1 Mira Madrid
The medium used by Hamish Fulton combines black and white photographs of natural routes (indexes of walking, of the hearing and the sight, through paths, rivers, mountains and plains) with texts describing the place and the time invested in his walks. For FIAC we have chosen a set of his signature photographs as well as a water-color and painted wood sculptures, schematically representing the silhouette of the walk.
Fulton’s art is the result of the experience of his walks. On his return to the studio, he undertakes a process of memory and memorisation of the experience through the traces the landscape has left on him. Fulton belongs to a lineage of walkers who maintain a close connection with nature through a relationship with space, its enigmas and its immensity, which cannot always be contained in the pages of a book or the picture frame. All the works here are from walks in the artist has done in France.
Now That We Know (Poem by Deena Metzger; Figure: Pirolia, Tomaso. Melancholy – Emma Hamilton. 1794, Collection of King Stanislaus Augustus Poniatowski, Uni- versity of Warsaw Library Print Room.), 2021
This large drawing includes the lines of a poem by Deena Metzger drawn along with the contour outlines of native plants of California, the state where the artist lives and works. Bowers was inspired by the words of Metzger (an American poet, activist and healer), whose lines of the poem, “Now that we know,” begin with:
Now that we are sequestered,
an entire globe aware
we are sharing a common fate,
which has always been the case,
now that we, so frightened
without our things,
know we are all mortal,
while grabbing our last meals
from the emptying shelves,
imagining our last suppers,
how we will spend the final weeks of our lives,
Now that we are aware
that the gift of breath
we have always received from the trees
may not serve us —
Is it because we
relentlessly cut them down?
À Rebours, 2019-2020,
A circular shape is made out of displayed books, at the viewer’s sight, its metal frame at chest height: the bindings of more than two hundred books which are turned inwards, only to showcase the edges, visible to the viewer. The books are editions of a single title, À rebours, by Joris-Karl Huysman, published for the first time in 1884.
The books on this ring are arranged by the color of their pages , with the yellowest edition of Huysmans’ book next to its most recent one. The interval that separates them recalls the cyclical nature of existence.
The photographs from the series ‘Because’ are concealed by curtains embroidered with text for viewers to read beforelifting the curtain to discover the image behind it. The text that begins with the word ‘Because’ explains the reason whythis image exists why the artist chose this specific place or time. The justification for the photograph can thus beunderstood before the image in a unique tautological rapport that questions the text-image relationship.
SOMETHING THAT CANNOT BE PUT INTO WORDS, 1969
In the 70’s Barry began to work with the medium of the language showing language fragments on the wall. Barry started with his “word work”, in which he defines and arranges the area by written words. Whether on canvas, on walls, on the floor, on glass areas of buildings or on mirrors, these isolated words suddenly contact the viewer, whose mental reaction completes the work.