#walking hours

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“Walking Hours: the Space Between Things and Passing in Time”

For Laut,

I wish my time more geological. Like the sea witnessing the movement of continents and mountains. Watching civilizations behind the dunes rise and fall and rise and fall.

25 June 2015. Scheveningen/Katwijk, The Netherlands.

Engaged walking, drawing, choreographic map for mental space between Scheveningen and Katwijk.

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“Walking Hours: the Space Between Things and Passing in Time”

For Cora,

The sea is silent in its roaring hush and the sand speaks no words. In fact, even the wind only pretends at whispering.

19 June 2015. Scheveningen/Katwijk, The Netherlands.

Engaged walking, drawing, choreographic map for mental space between Scheveningen and Katwijk.

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The first of two bookend articles for “Walking Hours: the Space Between Things and the Passing in Time” has been published in the magazine Le Merle. You can buy a copy for 12 Canadian Dollars or read my article below:

“Walking Hours: the Space Between Things and the Passing in Time”

I will walk. That is the work.

This work lies somewhere between a choreographic expression and an artistic gesture. Walking as an act of engagement, my senses attentive. I am prepared to embrace what I might encounter: ideas, interactions, objects, artistic epiphanies precipitated by the serendipitous convergence of events. But the work is the walk and anything it inspires is supplemental.

Between March and August of 2015 I will walk. In essence, that’s it. Just the action of walking: one foot in front of the other, experiencing the gravity induced pressure between the soles of my feet and surface of the Earth below.

I limit the space by walking back and forth between the two Dutch coastal towns of Scheveningen and Katwijk, along the North Sea from A to B and back to A. The fact that I live in one and my father grew up in the other is just an interesting coincidence, nothing more.

I will walk between 9 and 5, or working hours. Walking hours. The work is to walk.

It is a progression of work which started a few years ago with “Choreography of Love and Labour: The Flower Picker” where for six weeks I embedded myself as a daffodil picker on a farm in the South East of Ireland. Every morning I would stretch and prepare mentally before consciously stepping onto the stage that was the daffodil field. There I would pick till the end of the day funding the work directly by making the work (as I was paid 10 cents per bunch of 10 stems.) I was spectator as well as performer just as my co-workers were simultaneously the audience and part of an intricate, arbitrary choreography. I chose not to document the work in any way. It was ephemeral and lives only in memories maintained by a story of that particular movement and time and space.

“Walking Hours” intends to take the work outside of the conventional space and considers alternate mediums for artistic expression. The work is without the necessity of a tangible result, not creating for the sake of a product but sooner an object of thought or an inspired vibration set in motion. It seeks to engage in dialogue with unexpected audiences, perhaps unschooled in artistic appreciation. It does not want to be restricted by conventions or paradigms – perhaps inadvertently breaking some and discovering others. There are no expectations of what the work might be. All that is intended is to embrace the process and be engaged in the action of walking.

“Walking Hours: the Space Between Things and the Passing in Time” will be bookended between two publications of Le Merle. This first – this text - sets the work in motion. It is a statement of intent and also a proposition to participate for anyone who might feel so inclined. I leave it open, just as I have no expectations of what (if anything) “Walking Hours” might bring. There is a title and a loose score to set something in motion. For the rest there is a wide openness within which to explore… from A to B and back to A. The final bookend – published after the summer of 2015 - will present some sort of documentation referring to what “Walking Hours“ was. 

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“Walking Hours: the Space Between Things and Passing in Time”

Scheveningen/Katwijk, The Netherlands. June 2015.

For Jana,

4 June 2015.

A twinge of mournfulness for the ones that will never sting my summer swimming as I avoid the tiny translucent blobs which scatter the sand signaling the return of the jellyfish as the sea’s waters warm.

Engaged walking, drawing, choreographic map for mental space between Scheveningen and Katwijk.

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“Walking Hours: the Space Between Things and Passing in Time”

Scheveningen/Katwijk, The Netherlands. May 2015.

For Sarah,

2 May 2015. When I return the tide is coming in. It appears gentle but the power of the sea is indisputable and inevitable. The waves extend upon the sand revealing tiny desperately bubbling holes gasping for breath as the beach prepares for another drowning.

Engaged walking, drawing, Choreographic map for mental space between Scheveningen and Katwijk.

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“Walking Hours: the Space Between Things and Passing in Time”

Scheveningen/Katwijk, The Netherlands. April/May 2015.

For Eric,

15 April 2015. The sea and the sand embrace and release. Two soul mates giving and taking, always a little of the other in themselves. Inseparable as the sun shines on.

Engaged walking, drawing, Choreographic map for mental space between Scheveningen and Katwijk.

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