A futhork for Jan Groth-Overview 20 5 17

Posted on May 20th, 2017 by


Performing materials laid out 20 5 17

I have documented the growth of the project in dialogue with Jan Groth on other posts. See SVALBARD  , and  Overview

Here are a selection of notebook pages, which gives an idea of how this project has found its way. They are posted in no particular order and there is no hierarchy.

No 16. ‘An action which is one an continuous’ (Aristotle)

No 36. ‘ex infinitis constabunt partibus aeque’ (Lucretius)

All through this process, I have been drawn, again and again, to Lucretius’ ‘de rerum naturae’. Jan Groth’s remark to me also seems pertinent:

‘I am not of any generation/I overlap in all directions’

Lucretius said:

Therefore there will nothing to distinguish things set before the greatest and the smallest …absolute will be infinite, and as for those things which are smallest, they will be formed of equally infinite parts’ (DRN 1, Lines 615-622)

This was the second piece composed especially for Svalbard.

No 37. ‘When in a bed of straw we shrink together’ (Francis Ottway)

No 38. Gliders/Palindromes

No 39. ‘Rock Paper Scissors, Cloth leather grave stone’

No 24. ‘Proems’

No 31. ‘In Nova fert animus mutatas dicere formas’ (Ovid)

No 17. ‘…some have called the/Mighty and dreadful, for, thou are not so.’ (John Donne)

No 18: ‘If I shout loudly/no one can hear./But if I whisper/Someone always listens’ (Jan Groth)

No 19. ‘My art is a balance between something and nothing’ (Jan Groth)

No 20. ‘When the son sneezed his soul sped from this body and tried to escape through the door, but the spirit standing there caught it and held it fast, even though the poor soul cried aloud.’ (Buryat Story)

No 21. ‘hors hofum wlanc’ (Proud hoofed steed) (Rune Riddle)

No 22. ‘I have cast and used to throw reeds/and balanced sharpened twigs/ and in the forest lived from roots/ held a queen in my arms./ I will speak more if I feel like it.’ (Les Folies Triton)

No 23. ‘ When the fresh/First pulse of life shot/ brightening the snow’ (Robert Browning ‘Sordelle’)

No 25. ‘They’ve not eaten for three days’ (Christmas at the food bank. London 2016)

No 26. ‘Ride. It seems easy to the warrior comfortable in the mead hall and very brave to the one on back of the war horse’ (Rune Riddle)

No 27. ‘The Rhythm’s what’ s important, the play between the stroke’s stiffness and displacement on the paper.’ (Jan Groth)

No 29. ‘They depict nothing in particular, rather they are organic references without a fixed concept.’ (Jan Groth)

No 30. ‘That we might know thy blackness is a spark/Of light inaccesible…’ (Edward, Lord Herbert)

No 31. ‘In Nova fert animus mutatas dicere formas’ (Ovid)

No 32. ‘To bring order to my forms’ (Jan Groth)

No 33. ‘Frozen stiff/Were my feet locked by frost/Shackled by cold.’ (The seafarer)

No 34. ‘Intimately present’ (Descartes)

No 35. Division on Groth’s Studio wall

No 14. Secg/Sedge found oftest in the fen/ Lying on the water/ Wounds grim/Gagged horned bloody weals/On him, any man, that grasps it. (Rune Riddle)

No 15. ‘ I am not really sure where my need for exile, for loneliness, comes from.’ (Jan Groth)

No 15. ‘ I am not really sure where my need for exile, for loneliness, comes from.’ (Jan Groth)

No. 1 ‘Some harmonious sceptic soon in a sceptical music/Will unite these figures of men and their shapes/Will glisten again with motion, the music
Will be motion and full of shadows/’ (Wallace Stevens)

No 2. ‘Auroch is wild and savage…stalks over the moors and is so proud’ (Rune Riddle)/ ‘Seven Stars in the head of the bull which threaten rain whitn they rose with the Sun’ (Hesiod)

No 3. ‘Is necessary to have form, or can it just lean on the wall?’ (Jan Groth)

No 4. Art is made in a state of constant unease’ (Jan Groth)

No 5. ‘But the modern artist has no recognisable laurels to crown him and no inclination to rest’ (Frank O’Hara)

No 5. ‘But the modern artist has no recognisable laurels to crown him and no inclination to rest’ (Frank O’Hara)

No 6. ‘Objects used in dance help give a performance meaning and narrative and enhance any metaphors or symbolism.’ (Bonnie Rychlak)

No 7. ‘I follow my original intention as closely as I follow the working drawing’

No 8. ‘The dagger child is seen from the point of view of the child. The child has a dagger – the child wants to use the dagger: if you do not love me I am going to use my dagger. It is blackmail. I you do not love me, I am going to kill myself.’ (Louise Bourgeois)

No 9. ‘The sympathetic echoes’

No 10. Clocks change/Mist on the park. Wapping

No 11. ‘Quietness is not merely quiet. It gives me reminders’ (Jan Groth_

No 13. The haunted mere

Outtakes from recording session-20 3 17

Peter Sheppard Skaerved-Violin

No. 1 ‘Untitled 2007’

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No. 3 ‘Thorn (Rune)’

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No. 5 ‘…no inclination to rest…’

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No. 8 ‘Gro(w)th’

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No. 11 ‘Quietness is not merely quiet’

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No. 13 ‘Sigil (Rune)’

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No. 14 ‘…just my hands…’

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No. 15 ‘Sign/Tegn’

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No. 16 ‘This is where I am’

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No. 17 ‘which but thy pictures be’

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No. 18 ‘If I whisper, someone always listens.’

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No.23 ‘The Spear’

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No. 25 ‘Eor (Rune)’

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No. 26 ‘Rad (Rune)’

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No. 27 ‘…the play between…’

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No. 30 ‘light inaccesible’

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No. 31 Lysebu Triptych I

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No. 32 Lysebu Triptych III

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No. 33 Lysebu Triptych II

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No. 34 His crayon

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No. 35 Svalbard II