2014 mapmaking (part 9) – End of Year Haunting

This is the 9th and the final post of 2014 in a series that I still call psychogeographical maps (or cognitive mapping). Quoting certain sections and using a selection of photographs to widen the project, which at its core still has the intention to be a Cognitive Mapping of Now – aiming to be useful for locating the wider socio-political mood, and the psychological impacts of it. This project has been ongoing since 2013 and has largely been an artistic response to Frederic Jameson’s 1990 essay, and call to action, Cognitive Mapping, which is posited as a means of class consciousness in our contemporary social landscape. Arguing that the “mental map of a city [I’d say the wider human-made landscape] can be extrapolated to that of the social and global totality [one that we] we carry around in our heads in various garbled forms”. Also, due to often residing in places deemed culturally ‘insignificant’ I feel that my work is justified by the words of social Geographer Doreen Massey in that  “…spatially, the local place is utterly implicated in the production of the global and the globalisation that we so often find ourselves wanting to confront”. Although some of these maps aren’t made in places I live in, whilst traveling through them I am implicated and involved in that locality and the myriad of circumstances and incidents that constitute it.

The project has also allowed me to bring my love of maps into my art.

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The 1st post can be found here.

The 2nd here    The 3rd here      The 4th here      The 5th here    The 6th here   The 7th here    The 8th here

A collection of the 2014 maps can be found here.

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16 December 2014

“Always surprises me when I suddenly come across steep inclines in London. Like rivers (excluding the Thames), they are features that just don’t seem ‘natural’ in London as it stands. The place is such a concrete+metallic machine in its own right, that you don’t expect rivers and hills to start forming until you’re beyond the M25.”

“A fashion store on Kingsland Road, that looks [to be] webbed into some local scene. A single trainer shoe is on a plinth in the window. An area that presents itself as ‘against the grain’ [is] evidently as slavishly obedient to the consumerist reality, as anywhere else that is deemed less ‘edgy’.”

181 182 183 184 185

22 December 2014

“An unavoidable sight amidst the emotional chaos of the Xmas/New Year period: people, half drunk, coming very near to fist fighting, in Peel Square [Barnsley]. A young man VS the rest of the group, [he then] drunkenly storms up Peel Street, before leaning, with his head held low, against the window of the Iceland store. Next time I look he’s disappeared again.”

“Lots of teenagers stand amidst the now-empty market stalls, almost in complete darkness (I’m sure the streets lights are being dimmed or being switched off completely) [in Peel Square]. They look like they’re waiting for something to happen. But isn’t this more likely to be [the usual] sign of the state of [existential] boredom?”

18624 December 2014

“Despite it being the most depressing of signs of our (collective) inability to look after the environment (and the moronic nature of the act), there is something visually appealing about about sites of fly-tipping. After all, the entire UK landscape is shape humans have made it into – this just adds another historical layer”.

“Make the mistake of trying to take a shortcut through the woods at the bottom of Litherop Lane, in order to get to path leading to Bretton Park. I realise something isn’t quite right when all the footpaths begin to fold back in on one another, almost like a race track course. A man stands looking at me. I [then] realise that the rumours that this is site where people meet up for outdoor sex are well founded. As I turn and head in the other direction from the man and notice the floor is littered with the left-overs of things used for sexual intercourse, I notice another man. As I find a path heading out of the woods in the right direction, I notice that he has been staring at me for a long period of time. It initially intimidates me, as it does when a stranger is staring at you in a bleak winter woodland, but afterwards I see it in a tragic light. Not that I am one for tradition, but to be stood there in a cold, muddy wood on Christmas eve, desperately waiting for sex, is a sign of the impoverishment of life’s larger wealth. These people are [more than anything] victims, addicts to a nihilist landscape. prisoners to the pleasure-pursuit.”

187 188 189 190 19124 December 2014

“All the talk: that something big/a seismic shift from the current state of affairs is bound to happen soon, takes on an ominous feel within this eerie-looking early evening, which doesn’t settle easy with the [East Leeds] landscape through which we are witnessing it.”

“In the Dark Arches, walking above the river [which is at its] winter torrent levels. something awe-inspiring, specifically due to how if you were to fall in you wouldn’t stand a chance. These rivers are almost the hidden powerhouse, both past and present, of cities. I say ‘hidden’ because the common image of the river in the contemporary city landscape is as an appendage for pleasure for urban professionals – as if the river itself had stopped flowing in the ‘post industrial times’.”

192 194 19527 December 2014

“I flare up inside at gawping [at me] passengers going around junction 38 [of the M1]. I realise that my year has been stained by bubbling anger. A deep frustrations with things that I cannot deny, but worry what will become of it as time moves on. Something must change. And maybe I’m not the only one harbouring this deep frustration with things?”

“A sharp turn in the road at the top of Woolley Edge serves as an analogy for a desperate need to change course in life – after a dead-end-style unenjoyable binge-drinking night in Barnsley, and my 31st on the horizon. But,as with every year, the question still remains “but to where?”.”

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About John Ledger

A visual Artist, eternal meanderer and obsessive self-reflector by nature, who can’t help but try to interpret everything from within the tide of society. His works predominantly take the form of large scale ballpoint pen landscape drawings and map-making as social/psychological note-making. They are slowly-accumulating responses to crises inflicted upon the self in the perplexing, fearful, empty, and often personality-erasing human world.

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