Kate Albrecht Fulton Artist
Intangible sounds and Sights in.comprehension
Intangible sounds and Sights in.comprehension
represents a choreography of forms in migration.
The assemblages to identities and functions previously known.
The plotting of time and pronunciation of words in a minimalist grammar of forms.
Of breakaway signs and concealed reflections,
the mirror of the mind incapable of delivery.
The man made wedge from ‘a winters lost Souls’
now houses the tiny recluse.
A sight specific for listening,
where the volume has been turned down.
Where extended expanses in silence express more than is capable of seeing.
The silent speaker turns to face away, at the height where ones voice is lost.
Where low cloud ceilings, moody spring and fall skies force a migration lower than usual.
The open arms of a sundial cast the hours past in shadow.
A sited recording of static time consumed inhabiting space.
Constructed from an archive of spare parts, notices and debris, gleaned underfoot and by the roadsides passing.
Conceived out of the gaps residing in times between comprehension.
It is a collection of fragments to a dismantled vision, disassembled, resurfaced another’s sight.
Kate Albrecht Fulton / June 2009
Original writing on the sculptural installation 'Intangible sounds and Sights in.comprehension'.
Included in the accompanying catalogue of the 'CRITICAL FIXTURES' Group Exhibition,
curated by Mark Brown, RMITGallery, Melbourne, Australia, 2009.
Batesian mimicry and Urban scarecrows
Monday, 23 May 2011 11:03:58 PM
It was with doubt and suspicion that I sat amidst these situations past with One Eyebrow Raised, interposing objections and returning the gaze.
a collection of public and private situational cues
taken from my surroundings of social, political, conditions and encounters.
At a time informed by extreme public self-consciousness, self-monitoring and social anxiety.
Feeling observed, surveyed and judged (evaluated) from all places.
This body of work developed in response to the exponential introduction, infiltration and accumulation of systems, of control, security and monitoring.
Cameras, intercoms and alarms were interspersed with parking meters.
I felt the imposing presence of observation punctuating every corner of my existence.
In an act of ventriloquism, I threw my voice so that it appeared to come from elsewhere.
Mimicking the voices, characters and mannerisms of my surrounds
Resulting from a firm impression of time, the surveillance camera pieces were the satirical impersonations
the objectified substitutes for speaking, watching
I began to construct a series of impersonations and deceptive resemblances.
'Objecting Observation' is a radiator heater dismantled and turned inside out, no longer providing comfort and warmth but instead representing the imposing eye of the self and of the other.
Presenting the outward appearance of authority these objects installed in observation function like urban scarecrows, warning signs and silent alarms.
Purposefully fixed high, in out of reach positions to restrict engagement, prevent removal, maintain control and disguise the reality of their empty contents.
Constructed by way of our own making; from the buy-products of our consumption, comfort and most often instruments employed for public practices in hygiene. drying our hands of (responsibility)…cleaning ourselves of…
‘Dummy’ and ‘L’Oreal Paris 48 hours Before’
Installed upon systems of metaphor, for holding, locking, bracketing and automatic closing. Handles, panic bolts, shelving and door closing mechanisms.
maintaining positions of control, power, importance. the facade.
Confronted by the imposing
regulating access controlling the flow of (free and open communication), these devices were becoming introduced to negotiate the spaces of access. and communication
reflecting the ominous and threatening shadows of the familiar,
Maintained to conceal.
Absent, walking backwards.
Reflections. Donated by the artist, on a surrounding of threatening social interactions. Done in silence, implied, but not expressed. Neutralized.
Prosecuted for facing the wrong way.
Prefaced with being necessary, something appears to be standing guard, keeping watch.
at the edges and entrances to
imposition over-viewing acquiescence.
In Medicine the sentinel acts as an indicator of the presence of disease.
allegories in quotation
disguising the speaker
Using a minimalist grammar of forms
the puppeteered “Dummy” sooths and pacifies, inducing ignorance and slumber in its content.
The signs of language
to public systems and practices in Hygiene maintenance
The silent alarm.
quoting the illusion of power
the feeling of being inferior
are a front for social control.
the gaze/stare of the critical
Kate Albrecht Fulton / May 2011
Original writing in preparation for the Feature Article 'Kate Fulton - Batesian mimicry and Urban scarecrows', commissioned for the 'Art & Surveillance' issue of Artlink Magazine, Australia, Volume 31, September 2011
Remains between soft and hard
what reality is
a distant time
the effect of
.And it is
at one end
a gap concerning what was
what had been
a dense mist
a ................. time
of having always been
it would seem
the a ambivalent vague memory dream
between soft and hard
that is so
has been taken
does not appear to have been
until the present
a very clear
would later a rise
Kate Albrecht Fulton / 2012
Transcript of the Text Artwork 'Remains between soft and hard' exhibited in the Group Exhibiton 'Recycled Dreaming', curated by Bronia Iwanczak at Cross Art Books - Drawing Room, Sydney, 2012