March 2014, and Eddy is in Cardiff at the BIT Studio’s BYOB 2 event. ‘Bring Your Own Beamers’ is a democratic project originally devised by artist Rafael Rozendaal- ‘Find a space, invite many artists, ask them to bring their projectors’.
Eddy showed his short, abstract DVD ‘Sunpaper over 3 Days’, projected small. This piece of Quiet Art traced the changes in 50 light sensitive sheets which bleach when exposed, like a primitive photographic film. The paper confounded expectation by bleaching unevenly, and then partially re-colouring. To some autonomous agenda.
December 2013, and Eddy is invited to perform at Susanne Palzer’s ‘Open Platform 4’ event at Access Space in Sheffield. He reads out his 10 minute piece of writing ‘Motherboard’, a poetic SF text exploring the gift of the secret of silicon microchips, given by a silicon-based life-form from a distant galaxy.
Here is an excerpt:
‘The bewildered captain cries to the motherboard, ‘please help me understand motherboard!’ But she’s clamped, and draped in memory, her glowing drives have toxic haloes and are covered with bytes. Her screens flicker with offertory candles. Her diodes are like stars in circuitry constellations.
And the motherboard and her soldered children are not an ‘Analytical Engine’ to be walked round like a Henry Moore, or a brain that can be shocked to life on a roof in a storm. They’re impenetrable, encoded and talking impenetrable silicon language.
And the captain locks himself in his starship quarters, deep in her she-whale belly like an embryo. To learn the motherboard’s silicon language. But she is talking in tongues, 2000 tongues, not one of them natural. And she calls to other motherboards near and far.’
November 2013, and Eddy performs an address to his assemblage of embryonic objects at the ‘Synthesis’ show at Manchester’s Victoria Warehouse. Both performance and assemblage were entitled ‘Embryonic Thought’, and the former included the fertilisation of a giant rolling oocyte ball by the audience, who fired white suction tipped arrows at it.
The assemblage had been exhibited for the duration of the show, which was curated by the Forefront Collective, and was part of the Manchester Science Festival.
October 2013, and Eddy and Paul Allender screen their DVD 'River Ritual' at the ‘Social Water’ symposium at York University. This work investigated Paul’s unsubstantiated memory of a student death in a rag week raft race some years ago, using an absurdist interrogation and abreaction of the River Don in Sheffield, where the tragedy took place.
Click on the photo or below to watch on vimeo
October 2013, and Eddy is in Cambridge performing another live Twitter session with the Dawn Chorus group, (see previous post for June 2013).
The group is now called Seven Art Writers, but with the same membership: Natasha Vicars, Mary Paterson, Joanna Brown, Tamarin Norwood, Tiffany Charrington, Sally Labern and Eddy. http://sevenartwriters.co.uk/
This time we tweeted the dusk in Cambridge and from other locations, as part of the 'art:language:location' event, a ‘citywide exhibition of art, text and place’. The tweets were projected live on to the wall of the amazing Plurabelle Books during the opening night.
September 2013, and Eddy has a 20 minute piece, ‘Self Similar’, on Graham Dunning’s ‘Fractal Meat’ radio show on London’s NTS Live. It consisted of a dice-determined drawing performed live in the studio by Eddy (above), over his recorded narrative about exploring this type of drawing, and his subsequent move into more performative artwork. Along the way he cites the primordial, fractal-based ‘Charnia’ organisms, which became extinct, and Suprematism.
Fractal Meat broadcasts are available on
September 2013, and Eddy shows his commissioned DVD ’Ruskin’s Circle’ at the Wirksworth Festival. It is based on John Ruskin’s 1871 visit to nearby Matlock Bath, when he first showed signs of the mental illness that dominated his later years.
The film scans the cliffs of High Tor, while a voiceover by David Westbrook reads excerpts from Ruskin’s earlier almost transcendent writing on Venice, and a later more brooding account of Matlock.
The horizontal and vertical sweep of the camera references cycles of remission and relapse, and the close filming, as in the still above, Ruskin’s extraordinary attention to detail in his drawings.
August 2013, and Eddy’s wall sculpture ‘Subduction’ is in the ‘Fabric of the Land 2013’ exhibition, a ‘celebration of art and science’ at Aberdeen University’s School of Geosciences. Fabricated from a gravity roller, taped to resemble a 3D version of Riley’s optical painting ’Movement in Squares’, it suggests recessive sinking motion. Interactive in so far as the individual rollers revolve if a hand is stroked along them, in the manner of a prayer wheel, or relentless tectonic overlap.
It was later selected to tour in a streamlined version of the show at the ‘Our Dynamic Earth’ museum in Edinburgh in September/October 2013.
July 2013, and Eddy confines his canvas ‘free zone’ in a vitrine in the atrium of SOAR Works in Sheffield (left).
In June it had featured in his low volume polemic ‘Quiet Art’ at the RaRa (Radical Art, Radical Aesthetics) event ‘Art, Politics and the Pamphleteer’, held at the People’s Museum, Manchester (right).
The canvas enclosed space was made by Jenny Smith. The ending of his piece was:
'And so I declare this enclosed space to be a free zone, which evades language, culture, history, science and all other ideology, suspends any notion of transcendence, to become a momentary space for Quiet Art'.
June 2013 and Eddy spends the night in the amazing Ham House on the Thames near Richmond. The Dawn Chorus group (see previous post for October 2011) of Natasha Vicars, Mary Paterson, Tiffany Charrington, Sally Labern, Joanna Brown, Tamarin Norwood and Eddy, were dispersed among seven National Trust properties around London, and in a live online performance tweeted their responses to the emerging dawn.
See the tweets, including other responses to the dawn that came in, on www.nationaltrust.org.uk/london
May 2013, and Eddy puts a drawing into an ‘Article 25’ charity auction in Sheffield, based on an allocated 100m square in the city centre. It is called ‘Google Earth Reveals that the Centre of the Council Offices is Emanating Love’.
May 2013, and Eddy presents a paper with Paul Allender at ‘Post Traumatic Landscapes’, a symposium organised by Occursus at CADS in Sheffield. It describes their collaboration on Neepsend, an ‘industrial zone’ by the River Don near the city centre. Paul spent his early childhood there before the housing was cleared. Their presentation included the old story of a student death in a raft race, and touched on a ritual abreaction of the river they had devised and filmed.
Details of the symposium on http://occursus.wordpress.com
March 2013, and Eddy had some pamphlets on the ‘Furlough’ table, at the ‘Sheffield Zine Fest’, Electric Works. They were a record of a Facebook message that he had posted earlier in the month, which consisted of a tower of 378 short lines of letters from different languages, along with some abstract symbols.
His intention was partly to test the limits of Facebook by posting a very long and abstract message, something like the builders of Babel challenged the invisible forces of their Jehovah. And partly to quietly subvert social networking, by using the site for a solitary, disengaged act, creating along the way a rare bubble of spaciousness rather than dense scrolling prose.
In February and March 2013, Eddy posted a number of tweets on Twitter (@Eddydreadnought). These were solo improvisations around the theme of early morning lightning, asteroid and meteorite strikes, and other explosive lights. He took a paper copy of the earlier posts and pinned them to the village hall notice-board of the highest village in England, Flash.
Subsequently he has drawn them. Some examples, clockwise from bottom: Chebarkul, Here They Come Again, Primordial Photons.
January 2013, and Eddy rehearses and performs at ‘NewVolutions’, a live art micro-festival in Lincoln Performing Arts Centre. His piece ‘Fortune’ was loosely based on the start of the recession in 2008, and consisted of a ritual to support the financial sector, and to reaffirm faith in ‘trickle-down’ economics.
Photographs by Julian Hughes