Post-Traumatic Vase, by Joseph Edwardes-Evans

Post-traumatic vase

I was so touched to receive a gift from MA student and artist Joseph Edwardes-Evans in the form of a work he made in response to some of my research on post-traumatic landscapes. This is a text he wrote about his piece.

fullsizeoutput_29ae“The object constitutes the straightforward presentation of a section of found copper pipe, mounted in a block of buddleia – straight and forward, as a gestural surface to be met, like a mirror. The copper pipe had been kicked around on the ground and is scarred, polishing it has not effaced these marks. The buddleia has been sanded so that it is very smooth; as the metal has taken on an accidental, arrhythmic texture not unlike bark, so the wood becomes sheer and nearly metallic – the two reach towards each other in what is a becoming-monument, the enunciation of a common project by means of a combination where one component on its own is a sign, and two components a place.

What is a post-traumatic art? The telling of an anteriority, which is to the past what the memory is to reality, taking form and placing its truth in the present. The post-traumatic vase is the oblique arrival, and presentation, of this anteriority where it meets the present, in the way that a vase puts forward as spectacle something past, dead or dying, and hovers it between our world, where it can be contemplated, and the non-world, to which it belongs.

And what is the post-traumatic if not also a site/sight of a certain form of monument to a state of affairs no longer visible but nevertheless producing something today? Copper the conductor, buddleia the hardy non-native, or ‘weed’: in this sense the two together create a tenacious memory, locked into space and surfacing with irresistible autonomy. What that memory might be however is not clear, and on this point the vase remains silent. Looking again at its construction we see that, as both support and surface, ambiguous plane, the vase can only bring the idea of the past to us. What we do with it then – what we put there – remains to be decided.”

Joseph Edwardes-Evans, September 2018

 

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