Summer in the Park with Darb
group exhibition, curated by Mark Darbyshire, Feltrooms, London, 2011
group exhibition, curated by Mark Darbyshire, Feltrooms, London, 2011
Press Release
Feltrooms is pleased to present Summer in the Park With Darb, Curated by Mark Darbyshire from the Darbyshire collection and Residency photo installation by Sarah Davies, in our inaugural twin instal- lation exhibition.
The Feltrooms was founded in 2008, by London based artists Mark Ciavola and Mark Ross, in an at- tempt to bridge the divide between Art practice and the built environment. This initiative is an artist led public arts platform and dwelling experience which provides opportunity and context for emerging Art in London by bringing vacant and derelict buildings back into use.
The project was conceived as collision between the practices of Architecture and Art installation, the Feltrooms are intended to encourage breeding between related disciplines.
Started in 2008 in Hackney in London’s East End, and spreading to the London Borough of Islington in 2009, the Feltrooms now operates a cluster of projects within the City of London These unique environments that have been created also provide living accommodation to invited guests and visitors to London whilst simultaneously providing a platform and market place for local Artists.
10 Glasshouse Yard, Barbican, London, EC1A 4JM
info@feltrooms.com
Ph: (+44) 07740264443
http://www.zoominfo.com/CachedPage/?archive_id=0&page_id=6181398786&page_url=//feltrooms.com/past-exhibitions/&page_last_updated=2012-11-08T04:05:48&firstName=Douglas&lastName=Park
Douglas Park Retrospective 2012
Douglas Park, “Inland Ocean Acorn Island” 2011
https://www.facebook.com/photo.php?fbid=181233048611032&set=a.104795376254800.7231.100001730141045&type=3&theater — with Darbyshire Framemakers.
INLAND OCEAN acorn i s l a n d
Constellation sequence concrete pœm (a la Brazilian "Noigandres" group, Ian Hamilton Finlay, Lawrence Weiner etc) originally planned then realised as a maquette in the early 1990's (but as with much visual art work made then and later, unexposed at time or since).
Lightbox version, made with Mark Ross, 'Summer in the Park with Darb', group exhibition, selection from Mark Darbyshire Collection, Feltrooms, London, 2001 http://03tilt.com/
©, Copyright, Mark Ross, 2011
https://www.facebook.com/
Reused (identical words typographic font, arrangement, colour-scheme etc) for Nico Dockx's 'The Badge Project' (portfolio or ALPHABET of "tender buttons", from 26 invitees), as part of 'We Did Everything Wrong', curated by Carl Michæl von Hausswolff and Jan Aman, Teleport Fargfabriken, Ostersund, 2008
Same phrase became generative leitmotif throughout ‘Micro-Colonial-Drift / Growth-Area (via the Scenic-Route)’, 'The Bastard / Magnetic Speech', anthology, edited by Dr Clementine Deliss, Metronome, London, 2001. Serialised (alongside other works) in spoken-word audio form over sides B.) ‘Karatæoke’ and C.) ‘Obombrer’, 'The Bastard Remixes', double vinyl L.P compilation album, produced by Nico Dockx and Samon Takahashi, Curious / Conspiracy Records, Antwerp, 2004
Entire text recited and recorded (without alteration or accompaniment) as track 4 on side 2 of 'New Opportunities for Focused Listening', audio-cassette compilation album, curated, edited and produced by Bevis Martin and Charlie Youle, Lieu Unique, Nantes, 2005
http://
— withMark Sheldon Ross.Constellation sequence concrete pœm (a la Brazilian "Noigandres" group, Ian Hamilton Finlay, Lawrence Weiner etc) originally planned then realised as a maquette in the early 1990's (but as with much visual art work made then and later, unexposed at time or since).
Lightbox version, made with Mark Ross, 'Summer in the Park with Darb', group exhibition, selection from Mark Darbyshire Collection, Feltrooms, London, 2001 http://03tilt.com/
©, Copyright, Mark Ross, 2011
https://www.facebook.com/
Reused (identical words typographic font, arrangement, colour-scheme etc) for Nico Dockx's 'The Badge Project' (portfolio or ALPHABET of "tender buttons", from 26 invitees), as part of 'We Did Everything Wrong', curated by Carl Michæl von Hausswolff and Jan Aman, Teleport Fargfabriken, Ostersund, 2008
Same phrase became generative leitmotif throughout ‘Micro-Colonial-Drift / Growth-Area (via the Scenic-Route)’, 'The Bastard / Magnetic Speech', anthology, edited by Dr Clementine Deliss, Metronome, London, 2001. Serialised (alongside other works) in spoken-word audio form over sides B.) ‘Karatæoke’ and C.) ‘Obombrer’, 'The Bastard Remixes', double vinyl L.P compilation album, produced by Nico Dockx and Samon Takahashi, Curious / Conspiracy Records, Antwerp, 2004
Entire text recited and recorded (without alteration or accompaniment) as track 4 on side 2 of 'New Opportunities for Focused Listening', audio-cassette compilation album, curated, edited and produced by Bevis Martin and Charlie Youle, Lieu Unique, Nantes, 2005
http://
Micro-Colonial-Drift / Growth-Area (via the Scenic-Route)
Freshly sprung up, polite and welcome interruptions to weary, deceased and crumbling, fag ash and xerox grey, dustbowl and wreckage inland wastescapes; many a silver flecked, lapis lazuli amethyst sapphire cobalt Delft chinaware blue ocean, sparkles dazzlingly, despite secret hiding (complete with full working order, hot and cold running salination, waves, current and tide supply). Hence, inland ocean. Differing to usual seas, not solely in scale or habitat, every inland ocean being nebulous, amoebic -and of no fixed abode. Bulging from each inland ocean, swell verdant emerald olive moss mint lime green acorn clumps, secured to rust textured fawn brown island foundations -and light ochre shore surrounds. Therefore, acorn island. Unlike typical, larger earthmasses, any acorn island will auto assemble, dismantle, intersperse, navigate -and anchor roots. Whether feral inland ocean lidos and mutant acorn island crops are only a recent discovery or actual evolution or stray migrant or captivity escapee or naturalised exodus or abandoned fly tipping or deliberate introduction or even invention, still remains unknown. As for geography, climate and eco-systems: inland ocean harsh arctic polar snow-storm sleet hail blizzard frost ice hazard conditions and skating / hockey rink -protect exotic coral reefs; whereas acorn island desert terrain's tropical rainforest jungles -lead to towering alpine peak ski slopes. And zoology? Irrigatory inland ocean reservoirs and botanical park acorn island plantations provide Noah's ark nature sanctuary for all species and genera attracted. Ongoing mutual dependency support exchange relays between iridescent inland ocean water garden, bonsai weed acorn island rockery, lilliput menagerie -and now rejuvenating, convalescent host, absorbing their shared fuel. If inland ocean minefields spread, breeding a single acorn island apiece, epidemics of gutter aquarium inland ocean overspills and high-rise acorn island farms, promise and threaten to drown, outgrow, halt and consume all in their paths -catapulting supernova rainbow bridges to pole vault off from one inland ocean and acorn island diving board and then on to the next inland ocean and acorn island trampoline; or effervescing inland ocean wells might very easily leak, dehydrate, sink straight through plughole, right down drain, leave blossoming acorn island beauty spots high, dry, beyond repair, withering away, shrivelled up, in disintegration -exposing flora and fauna against elements to fend for themselves. But phoenix diasporas of vaporised inland ocean floret spray, alongside soluble acorn island spore and pollen fall-out, always carry, sprinkle, sow, plant, settle and flourish, once again, elsewhere...
Copyright, Douglas Park, 2001
Both entire
“story” and leitmotif phrase “INLAND OCEAN acorn i s l a n d” have appeared in various forms
and outlets. Unexposed symbolic
colour-coded concrete pœtry visual artwork, circa 1990. 1st published in The Bastard / Magnetic Speech, group
anthology, edited by Dr Clementine Deliss, Metronome, London, 2001.
Cutup with 5 other works, as spoken-word recording, taking up sides B.) ‘Karatæoke’ and C.) ‘Obombrer’, The Bastard Remixes, produced by Nico Dockx & Samon Takahashi, double vinyl compilation album, Conspiracy Records, Antwerp, 2004.
Entire work, spoken-word track 4 on side 2 of New Opportunities for Focused Listening, audio-cassette compilation album, produced by Bevis Martin & Charlie Youle, Lieu Unique, Nantes, 2005. Online at http://www.charlie.youle.free.fr (in connection with newopportunities and microcolonial — “A fractal topographic field report from Acorn Island”). Published as badge, in Nico Dockx’s ‘Badge Project’, in We Did Everything Wrong, group exhibition, curated by Jan Amen & Carl Michæl von Hausswolff, Teleport Fargfabriken, Ostersund, 2008.
Lightbox (in collaboration with Mark Ross), premiered at Summer in the Park with Darb, group exhibition, curated by Mark Darbyshire, Feltrooms, London, 2011
Cutup with 5 other works, as spoken-word recording, taking up sides B.) ‘Karatæoke’ and C.) ‘Obombrer’, The Bastard Remixes, produced by Nico Dockx & Samon Takahashi, double vinyl compilation album, Conspiracy Records, Antwerp, 2004.
Entire work, spoken-word track 4 on side 2 of New Opportunities for Focused Listening, audio-cassette compilation album, produced by Bevis Martin & Charlie Youle, Lieu Unique, Nantes, 2005. Online at http://www.charlie.youle.free.fr (in connection with newopportunities and microcolonial — “A fractal topographic field report from Acorn Island”). Published as badge, in Nico Dockx’s ‘Badge Project’, in We Did Everything Wrong, group exhibition, curated by Jan Amen & Carl Michæl von Hausswolff, Teleport Fargfabriken, Ostersund, 2008.
Lightbox (in collaboration with Mark Ross), premiered at Summer in the Park with Darb, group exhibition, curated by Mark Darbyshire, Feltrooms, London, 2011
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