Archive for the 'Projects' Category



Momentary (un)balance

It’s been a while since I posted. This is going to be a bit of a ramble. Glancing to past, present, and future. I chose a title that might give a bit of space for reflection. For exploration. To challenge. To be challenged. Who am I? What am I doing here? That sort of stuff. Well, hopefully not too much of that final stuff – too tedious for anyone, including me, and the answers will be different in a day or hour or next thought.

After all balance, or not, is a moment by moment thing.
And could one say there is more fun in un- ?
fun-balance?

In the interregnum there was the second group session with Ruth Hadlow in Hobart. How to show the activity of my glossary and energizing objects investigations? With just a few days to go I thought of the balancing act of a house of cards, and quickly printed out material from the blog.

Un-balance House of Cards

Results were poor as a presentation device. While talking I was unable to get beyond two cards before the anticipated collapse eventuated.

For communication? Mixed response. People seemed to enjoy passing them around for a look, and it was probably easier than a laptop showing the blog. However to an extent the cards were interpreted as a work in their own right, and from that perspective there was a lot of refinement to be done.

It led to the suggestion of looking at documentation and research as forms of creative practice.

It also led to some discussion of the use of a blog. Not necessarily polished writing and presentation. Not private, unrestrained “thinking writing”. Mine is an uneasy balance – some warts showing, but not all. And I quite see that the viewer of an artwork might not want their response to be directed or narrowed by my titles, and might prefer some mystery and wonder rather than be told the balance was actually easy (15-Apr-2019).

Ready for lift-off
24-Mar-2019

Then there are the actual objects. For me a weaving shuttle plus red chopsticks from a local cafe have meaning beyond the balance. For others those materials are most likely unrecognised, mute. Even more so my trusty annealed tie wire, or threads in resin, or corrugated copper foil, or …

A towering thirst
15-Apr-2019

Can I add to my work in my choice of materials? One point of resistance is that these materials are already meaningful to me. How much to I want to vary my standard, selfish, focus? Plus the obvious thing is to go household/domestic, but I’m wary of being obvious. Which led me to the idea of “on the tip of the tongue”. If I choose to take this path, can I disguise the objects so people have to reach for recognition? To me that stretching, vibrating feeling of trying to pin down a reference is very close to the rapidly variation adjustments trying to keep balance. I need to learn more about material approaches.

Then there was the surprising (to me) realisation that all my samples were very literal illustrations of balance. That was set up in the briefs for each investigation, but still… Over the days of the session there was some mention of my strong literal, analytical, pedantic aspects. Something to challenge?

Growing pondering list:

  • Types or aspects of creative practice: research / documentation / sampling / polished (“worked”) work…
  • Intended audience. Myself / peer group / wider world
  • Materiality. Potential for enrichment, complexity, layers of meaning…
  • Types of writing. Narrative / authoritative / propositional / thinking / notes / poetic articulation. Audience, level of re-working…
  • The analytical etc. Something to challenge? Or aspects to reframe, reposition, harness as strengths, or at least with positive potential.

    The Essential Duchamp exhibition at AGNSW is well timed for me.

    Marcel Duchamp
    Nude descending a staircase (no 2)
    1912

    Nude descending a staircase (no 2) depicts a body in motion. From the catalogue by Matthew Affron: “a marionette-like figure decomposed into repeating linear elements that serve as an abstract, graphical record of its movement.” It mentions the lines and planes of the changing position in space, and also “small dotted lines indicate the swinging motion of the figure’s visible hip and legs”. There was inspiration from motion photography.

    Pendulum
    19-Apr-2019

    An extra step for me could be to work further with my photographs, abstract from them, use them as a base for development, say brush and ink drawing or maybe monoprinting.


    On the left above, a view within the gallery. Various readymades, most of them replicas of the originals. The choice of the objects was (allegedly?) made with visual indifference, although the first, Fountain, was definitely provocative. An alternative perspective on materiality. What currently particularly interests me is on the right, effectively a display case compendium of around 69 works. Miniature replicas, print reproductions, all in a case that closes to 40.6 x 37.5 x 10.8 cm. Lots of different ways to see this, but to me one is to regard it as documentation.

    Marcel Duchamp
    The Bride Stripped Bare by Her Batchelors, Even (The Green Box)

    It becomes clearer in The Green Box, containing 94 facsimile documents – manuscript notes, drawings, photographs. An accompaniment to The Large Glass, objects in their own right, artefacts of Duchamps process, a guidebook, a literary form… and documentation.

    Tentative conclusions so far:

  • I want to keep Un-balance as a focus. Without going into complexities of a multitude of recent resonances, a simple example of how un-balance is pursuing me. One of the recently weekly lectures at AGNSW was given by Mark Ledbury, on Géricault’s Raft of the Medusa. Towards the end Mark showed us a couple of Géricault’s portraits of the insane – The Monomania of Envy and Portrait of a Man Suffering from Delusions of Military Command. The very next day a book purchase arrived, recommended by Ruth as an example of a creative practice in documentation and research – Fiona Tan’s 10 Madnesses. Focused on the same portraits by Géricault.
  • I want to learn more about research and documentation as forms of creative practice. So far it feels like a good fit for me.
  • I’m attempting to bring some of my day-job analytical skills and data visualisation techniques into play. So far that means building up some data. It will take some time to develop.
  • I’m back here blogging. Not everything. Watching what works for me, how it fits with other aspects of what I’m doing. But it’s just too valuable to give up. It’s an index; an archive; an opportunity for communication, interaction; a means of organising thoughts; a reminder to look back, maybe synthesize, not keep rushing on to the next experiment; showing research and work in progress, rarely if ever polished presentation of finished work.
  • In practice all this means I’m am reading up a storm and producing copious notes. Not much in the way of making, but I’m confident that will come.

    I’m sure there was more I was going to include. If it’s important it will come back to me. I hope 🙂

    Glossary investigation – Teeter

    Unbalance: Teeter

    1867 James Russell Lowell Biglow Papers Series II

        An’ I tell you you’ve gut to larn thet War ain’t one long teeter
        Betwixt I wan’ to an’ ‘Twun’t du

        war
        hell
        dead
        enemy
        failed
        fighting
        god
        lost
        adversity
        apologizing
        appeal
        aspirations
        blood
        bloodshed
        brotherly
        carry
        charm
        crimes
        crueler
        cruelty
        danger
        dangers
        defeated
        dissatisfied
        facts
        forever     
        golden
        grow
        guilty
        hardship
        hate
        hesitate
        hopes
        humiliation
        inheritance     
        killed
        killing     
        kindness
        liberties
        liberty
        lies
        life
        love
        magnitude
        momentous
        nothing
        owned
        perfect
        power
        promise 
        purged
        reform
        sadness
        share
        spies
        strife
        truth
        vainly
        whipping
        wish



    Notes: Lowell wrote this long poem in response to or inspired by the American Civil War. In this and other writing he attempted to emulate the true Yankee accent in the dialogue of his characters. See https://www.gutenberg.org/cache/epub/13310/pg13310-images.html – a search for “teeter” in the document will bring you to the passage.

    I find it next to impossible to read. What language were others using at that time? Using around twenty quotes about the Civil War, written at that time, I selected key words and ordered them by count of occurrences and then alphabetically to create the accompanying list.

    Materials used: Galvanised steel wire, fishing weights, wooden block. Photographic documentation continues to be unsatisfying, so I have made an initial experiment with video. One of the delightful things about this piece is how much it teeters, while still requiring surprising effort to dislodge. The balance point is a vertical wire sharpened to a point, on which sits a horizontal 1.57 mm wire that has been hammered flat and given a pockmark. The fact that it can fail, can fall, seems important and appropriate.


    More glossary entries
    Structure based on lists

    Glossary as a list of words connected with unbalance

  • Oxford English Dictionary used as source of quotations, not definitions
  • Making, motion, and photo documentation in response to quote
  • Text response in a list
  • Process notes
  • Energizing objects investigation – 6

    Potential for play


    Mum let us each invite a neighbourhood friend to the Friday Craft Club. We cast and painted plaster models. We carved soap (Peter-from-next-door rubbed his eyes, causing stinging, causing crying, causing rubbing of eyes…). We made papier-mâché heads for hand puppets, then wrote and presented plays. Even in those days I was keen on projects like the costumes, involving stitching. Potato prints. Flip books. French knitting using wooden thread spools and some crooked nails.

    I keep remembering more. Carving foam with a heated wire. People would move too fast, breaking the wire. Weaving mats with strips of paper (yes, my hand goes up again). Splatter painting with toothbrush on wire mesh, creating soft silhouettes of leaves. All sorts of constructions with paddlepop sticks and pipe cleaners and balsa wood. A bag of clay from the local pottery works became lumpen pigs and doorstop ashtrays. Not that anyone in the house smoked, so that was odd. In any case they all had unpredictable wobbles. Not well balanced.

    Alternate version

    Notes: I decided to limit myself to objects on my worktable. It’s not as visually dynamic as I hoped. The V formation looks balanced. Perhaps the earlier, simpler version is more effective.

    More energizing objects.

  • Balance to create motion
  • A sideways step through memory
  • Process, objects…
  • Caption
  • Glossary investigation: Disequilibrated

    Unbalanced: Disequilibrated

    1891 Jean-Marie Guyau Education and heredity. A study in sociology

        Obviously, then, there is no possible remedy for this common disease called neurasthenia, to which all criminals, poets, visionaries, the insane, hysterical women – in fact, all whose mental equilibrium is disturbed – are subject; races simultaneously descend the scale of life and morality, and there is no ascent. The disequilibrated are for ever lost to humanity; if they do propagate their kind for a longer or shorter period, it is all the worse for them.
    initial quote from dictionary in bold above

        Uprighteous
        Narrow
        Judgmental
        Isolated

        Joyous
        Energetic
        Creative
        Interacting

        Whose humanity is lost?


    Notes: It seems an investigation of unbalance returns repeatedly to “hysterical women”. The quote above is from the preface of a book. https://archive.org/details/educationheredit00jmgurich/page/xxii

    Skim reading shows Guyau was discussing the powers attributed by some to heredity, only to challenge and dismiss them. The actual focus of the book is on the role and types of education and Guyau’s vision of reforming education with proper attention to moral, physical and intellectual development – lifelong education. Long hours of studying to pass an exam and then forget all is rejected. Skipping to the chapter dedicated to education for women, it’s not clear to me if Guyau disagrees with the logical outcome of prevailing principles that “… the disequilibration produced in the woman by intellectual work will therefore necessarily be greater than in the case of the man” (p. 260). He does appear to agree with the assumption of a girl or woman’s primary role as future mother. Given the precise direction of her future is uncertain, given vagaries of husband and family, “it should be clearly understood that we have not to teach her everything, but to fit her to learn everything, by giving her a taste for study and an interest in every subject” (p.270). Skipping ahead we find: “Inspire children, and especially young girls, with a taste for reading, study, works of art, and elevated amusements; this taste will be worth far more than all knowledge, strictly so called, artificially implanted in them; instead of a mind furnished with lifeless knowledge, you will have a mind at once living, moving, and progressive” (p. 274).

    A 1891 NY Times review of the book I found annoying and confusing in tone. https://www.nytimes.com/1891/08/16/archives/new-publications-inheritance-and-training-education-and-heredity-a.html

    A side note – the treatment of Guyau’s mother in various wikipedia references. The Guyau entry highlights the influence of “his stepfather, the noted French philosopher Alfred Fouillée”, while the mother, Augustine Tuillerie, gets a brief mention as author of a book and a link that doesn’t work. Her book gets an entry. There is also a french language entry for Augustine under her pseudonym G.Bruno. I’d like to know more.

    Balancing the mobile was particularly challenging as the upright spikes flipped at the slightest change. Also challenging was photography for this entry. The composite photo is static.

    Individual photos give some idea of the shapes made.



    More glossary entries
    Structure based on lists

    • Glossary as a list of words connected with unbalance
    • Oxford English Dictionary used as source of quotations, not definitions
    • Making, motion, and photo documentation in response to quote
    • Text response in a list
    • Process notes

    Glossary investigation: Pendulum

    Unbalance: Pendulum

    1818 Lord Byron Childe Harold’s Pilgrimage

          Man!
          Thou pendulum betwixt a smile and tear

          Mood swings
          Erratic
          Unstable
          Hysterical
          Unreliable
          Unequal
          Unbalanced


    Pendulum still

    Notes: Inspiration for this came from seeing Alexander Calder’s 1936 work Tightrope at the National Gallery of Victoria. My gallery photos didn’t come out well – better to look on the Calder Foundation website www.calder.org/work/by-category/standing-mobile.

    More glossary entries

    Structure based on lists

  • Glossary as a list of words connected with unbalance
  • Oxford English Dictionary used as source of quotations, not definitions
  • Making, motion, and photo documentation in response to quote
  • Text response in a list
  • Process notes
  • Energizing objects investigation – 5

    A towering thirst


    I picked up bar work while travelling. First time was in a roughish part of Edinburgh, the Lady Nairne. Learn on the job in those days, no RSA. Back in Sydney I continued learning:

  • if someone asks for scotch, don’t give them whiskey.
  • if someone asks for ice in beer, double check. They wanted juice.
  • if dad asks for a pony of beer, be glad he dropped by to say hi, not embarrassed by the unmanly glass.
  • Notes: This came together very quickly in the kitchen. Initial focus was the top section, which surprised in coming together reasonably easily and holding well.


    More energizing objects.

  • Balance to create motion
  • A sideways step through memory
  • Process, objects…
  • Caption
  • Glossary investigation: Trepidation

    Unbalance : Oscillation : Trepidation

    1667 John Milton Paradise Lost

          They pass the Planets seven, and pass the fixt,
          And that Crystalline Sphear whose ballance weighs
          The Trepidation talkt, and that first mov’d;

          Moon
          Mercury
          Venus
          Sun
          Mars
          Jupiter
          Saturn
          Fixed stars
          Precession of the equinoxes
          Trepidation of the equinoxes
          Obliquity of the eliptical


    Notes: Un-Balance, an infinite series of adjustments, led to Oscillation, a regular periodic fluctuation in value about some mean, nudged a memory of Kepler and the music of spheres, and on to Trepidation, the hypothetical oscillation in the precession of the equinoxes.
    https://www.poetryfoundation.org/poems/45739/paradise-lost-book-3-1674-version
    https://www.dartmouth.edu/~milton/reading_room/pl/book_3/text.shtml
    https://en.wikipedia.org/wiki/Celestial_spheres
    https://en.wikipedia.org/wiki/Johannes_Kepler
    https://en.wikipedia.org/wiki/Trepidation_(astronomy)

    The mobile took a literal approach. A central “earth” in wood; two arms, each with a “planet” in metal (both copper one side, aluminium the other) circling the earth, each planet balanced with a metal swirl, a swivel allowing the trepidation circle. Without movement, flat and boring.


    More glossary entries
    Structure based on lists

  • Glossary as a list of words connected with unbalance
  • Oxford English Dictionary used as source of quotations, not definitions
  • Making, motion, and photo documentation in response to quote
  • Text response in a list
  • Process notes
  • Energizing objects investigation – 4

    Step 1


    Step 2


    Step 3


    Step 4

    Once a week mum would cook with one of us. Special one on one time, precious among five children. Hand made receipe pages, line drawings of blue open-fingered hands rubbing yellow butter into flour.

    Scones for afternoon tea.

    Notes: Improvising with objects in the serviced apartment when visiting Melbourne for the opening few days of Alexander Calder:Radical Inventor exhibition.
    Paper cord (made from 2 sheets of A4); books; series of kitchen implements.


    More energizing objects.

  • Balance to create motion
  • A sideways step through memory
  • Process, objects…
  • Caption
  • (Metaphorical) gluttony and indigestion

    Apparently it’s now called Freshwater, but when I was a child we would sometimes drive in summer heat to Harbord Beach. A heavy red and white umbrella. Zinc cream. Burning feet trudging through the sand. Staying between the flags, jumping into waves, attempting to body surf.

    And some days the waves, churning sand, would catch you up, tumble you around, water up your nose, struggling – which way is the surface? And you’d stagger out, legs trembling, eyes stinging, swimmers dragging down from the weight of sand in the pants, hair drying crunchy with salt. Exhausted. Wanting more.

    So I’m mixing metaphors between title and intro, but that’s just how it is right now and we’ll all just have to make do. Because over the last five weeks I’ve been tumbled, and gobbling, and racing back for more.

    The blog’s never going to catch up, so a sprint through. Visual focus remains un-balance.
    Joel Crosswell in Dirty Paper at Tasmanian Museum and Art Gallery

    Bad reflections in the photo. Lots of flickering movement.

    Toby Ziegler Your Shadow Rising at MONA

    Toby Ziegler
    Empty Pond

    A grid rather than balance.
    Layers, accepting chance, multiple approaches (film, installation, …).

    ZERO at Mona
    Much more time and need for thought and research on Zero and Nul movement(s).


    Stripes rather than balance. Amazing what clever placement of some nails can do.

    There were multiple examples of the revealed depth of Fontana. Plus movement, vibration, balance by Bernard Aubertin, Jesús Rafael Soto, Jean Tinguely…

    Riitta Ikonen and Karoline Hjorth Eyes as big as plates at Salamanca Arts Centre

    Hjorth and Ikonen
    Eyes as big as plates
    Salme


    A wonderful, calming, enriching experience. I chatted for a long time with the two artists, who were incredibly welcoming, forthcoming, encouraging, generous… See more of their project at https://eyesasbigasplates.com/.

    Intensive Creative Research with Ruth Hadlow. The first of our group sessions was held over three days in Hobart. “Intense” doesn’t cover it. Work flowing on from it includes my Energizing Objects and Glossary investigations.

    Battery Point, Hobart
    I walked the harbourside sculpture trail, but found myself more drawn by views of boatsheds, cottage gardens, inventive weather vanes and tardis side gates.

    Janet Laurence After Nature MCA Sydney
    This major survey shows the depth and wide ranging approach of Janet Laurence. Concentric rings of layered and image-printed fabrics combine with light and film to immerse the viewer in trees, within a tree, in the history of our relationship with trees. Modern and ancient knowledge and technologies are brought together. All our senses are engaged.

    A huge tree, killed by drought, has been pieced together in one of the galleries. It is bandaged, glass tubing suggesting life support, or perhaps an exchange between tree and environment of fluid or air. Engraved markings in the bark, and the insects who made them, are celebrated. Is salt rock a blossoming new growth, or the death of salinity? Eyes on balance, I was impressed by the few supports needed to stabilise the tree in the space. A slight discontinuity in deep fissures in the tree showed the small adjustments made to adapt it to its new life.

    This slideshow requires JavaScript.

    John Chester Jervis, National Library of Australia
    A trip to Canberra with my mother was focused on the photograph albums of a 19th century ancestor – my great great great uncle. The albums were recently donated by a distant English cousin.

    Mum with John Chester Jervis photo album


    Mourning locket for Louisa, briefly reunited with photograph of her sister Ellen and brother John

    Mum has researched the Australian period of John Chester’s life, from the 1840s to 1871 – https://megshistory.wordpress.com/john-chester-jervis/.

    While in Canberra we also visited the National Gallery of Australia, in particular Love & Desire: Pre-Raphaelite Masterpieces from the Tate. There were many familiar works included, but there’s nothing like a bit of parochialism.

    Ford Maddox Brown
    The seeds and fruits of English poetry

    The central section of The seeds and fruits of English poetry by Ford Maddox Brown is a study for an enormous painting, Chaucer at the court of Edward III in the AGNSW collection. It’s one of mum’s absolute favourite works, and whenever we have a few minutes spare at the gallery you’ll find us visiting it.

    Māori Markings: Tā Moko was fascinating.There has been a contemporary resurgence of this practice, which is of major cultural significance.

    Yayoi Kusama
    The spirit of the pumpkins descended into the heavens

    The bright yellow room presented by Yayoi Kusama is billed as an experience of both claustrophobic and infinite space. I’m sure we weren’t the first to find it puzzling. I’ve been vaguely aware of Kusama’s work in the past, and find the obsessive character of it disturbing and in some sense empty.

    We also found our way down to Bodies of art: Human form from the national collection. There we found Number 24, Harry Boyd, by Harry Klippel.

    Robert Klippel
    Number 24, Harry Boyd

    Robert Klippel
    small polychromed tin sculptures

    It’s hard to believe this massive piece of sandstone was carved by the same man who made the multitude of inventive wire and tin forms which I most recently saw in Mosman as part of Destination Sydney. (I think they’re actually part of the AGNSW collection).

    Hossein Valamanesh
    Falling

    Robert Klippel is definitely one of the artists on my list the research further for un-balance.

    Part of the interest of un-balance is the constant potential for complete loss of balance – for falling.

    On the information plaque Hossein Valamanesh is quoted: “Leaving aside narratives the work stands for itself and is about falling with grace.” The long bamboo shivered just slightly in the gallery’s currents of air. The work is beautiful and elegant, but I struggle that it seems to be set at the moment of impact, where grace can no longer hold. The ground is so solid and hard. I’d like to see it Falling on a plinth, white or even perspex, curving to swoop joyfully upwards.

    No photos, but I’ll briefly mention Hassall Collection at Drill Hall Gallery. No photos – we happened to arrive at the same time as a very large group of people from Canberra and Sydney, and it was hard to get viewing space.

    In the last few days I’ve been on another interstate trip – this time to the National Gallery of Victoria, and focused on the opening events of Alexander Calder: Radical Inventor. An amazing experience, needing its own post. While there I took a couple of hours to roam NGV galleries, looking for anything that spoke to me of un-balance.

    Francesco Clemente
    The Midnight Sun XII

    I have no idea what to make of this painting, but I stayed with it for a long time. There are scales. There is a balance achieved in the composition in a way I don’t understand. Research needed.

    Paul Cezanne
    The Uphill Road


    The geometry here is amazing. The roof and tree line, with the path at the bottom, struggle to balance that steep, sliding slope.

    Then in the bottom right corner, and possibly among the last brush strokes on the canvas, is the slightest hint of a straggle of weeds. And I think that braces, props up, the entire thing.

    Currently hanging next to the Cezanne is The bridge on the Seine at Chatou by Maurice de Vlaminck.

    Maurice de Vlaminck
    The bridge on the Seine at Chatou


    Full of energy and zest, and I don’t think the artist cares one whit that the bridge and the entire village on the right bank is about to slide under the waters of the Seine.

    Mari Funaki
    Container

    A dreadful photo, lots of reflections and blurry focus, but I want to remember the works of Mari Funaki. A much better photo is on the gallery website here. A beautifully balanced insect of a thing which could leap across the room in an instant. That leftmost leg is wide but thin – the whole thing looks like it could tip backwards, at the same time as it seems perfectly in control.

    Just minutes later I was looking at this jar – Predynastic Period, Naqada II 3500 BCE-3200 BCE. EGYPT, Diospolis Parva

    Jar

    Maybe looking at Funaki’s work I should have been thinking of birds rather than insects. And these lines actually would make a good segue to Alexander Calder and his zoo drawings. But not today.

    Instead I’m going to finish where I intended to start – at the pile of books that have accumulated over the same five weeks. In no particular order:

    Hassall Collection: A masterpiece Collection of Australian Art. Exhibition catalogue.
    John Berger. A Painter of Our Time
    Dora Garcia I see words, I hear voices
    Alexander Calder: Radical Inventor. Exhibition catalogue.
    Landscapes: John Berger on Art
    Richard Serra, Hal Foster Conversations about Sculpture
    Alexander Calder & Fischli/Weiss
    Sol LeWitt: Between the Lines
    William Kentridge Six Drawing Lessons
    Joy Kenward The Joy of Mindful writing: Notes to inspire creative awareness
    Ruth Hadlow Granite
    Nancy Spector and Nat Trotman Peter Fischli David Weiss: How to Work Better
    Joan Pachner David Smith
    Anne Carson Float
    Lynne Cooke, Karen Kelly and Barbara Schroder (eds) Agnes Martin
    Eyes as big as plates. Exhibition catalogue
    Sarah Edelman Change your thinking: positive and practical ways to overcome stress, negative emotions and self-defeating behaviour using CBT (Lent to me by a work colleague who thought I was stressed. Can’t imagine where he got that idea!)

    All this added to the metres of unread and part-read books already piled up on the shelves.

    Five weeks, four capital cities, sixteen books. Good days.

    Energizing objects investigation – 3

    Production

    Grandma was a proud woman of the north, a Master Cutler in her family line, steel in her veins. Now in the south, we caught a bus into town, eyes straight ahead as we walked past the “loitering youths” (a nervous – making presence, subject of many warnings), to The Bon, the big store. Scissors. We searched. We asked. No Sheffield steel. None.

    I’d never seen Grandma so upset, almost arguing. How is this possible? No Sheffield steel in your store!

    Walking back, I had never seen her so tired. Sad. Lost.

    Notes: Cutlery, corrugating tool, aluminium strip. A chance combination of items on the worktable.


    More energizing objects.

  • Balance to create motion
  • A sideways step through memory
  • Process, objects…
  • Caption

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