The Eternal Blip (A Mary Celeste Decade) and other works in progress

I’m really in a work-in-progress point at the moment. I’ve got a bit more time, because I’m doing a part-time Masters, and working less hours.  Getting into more debt by taking a loan and returning to further develop my art may seem like a foolish move to some, but with working five days a week (no matter what that work is!!) the sheer lack of time was meaning my ability to think creatively and strengthen my work was being starved. Fair enough some may say: ‘that’s life’. If I was to stay working 5 days a week I would have had to give up making my work, because it had no room to maneuver and expand, and could only contract. But I saw an opening to keep on working on it, and that’s what I’ve done.

The Eternal Blip (A Mary Celeste Decade)


<p><a href=”https://vimeo.com/239828894″>An Eternal Blip (A Mary Celeste Decade)</a> from <a href=”https://vimeo.com/user60125733″>John Ledger</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

 

map.jpeg

Timeline of opening and closing of horizons (2008-2018)

For years I have been reeling from accusations that not only is my work very negative, but I also am negative. I have never accepted this, and from a person who suffers quite a lot of anxiety, I think it’s a given that on first impressions I’m not as warm and accommodating as I’d like to be, even though I nearly always come around, when I have chance to ‘breathe’.

The work (or ‘what I can contribute’) is more difficult. I’ve felt that my work has been trying to help harness a ‘dark optimism’ or a ‘punkdrunk idealism’ for some years now. But maybe it hasn’t been a strong enough element. I have become tired of trying to piece together how fucked up the grand scheme is, if it shows no sign of leading anywhere, especially when the grand scheme, and the awareness of it, isn’t offering yourself out of a future of deteriorating mental health and behavioral patterns.

It may not seem evident within these works in progress straight away, but there is a concerted effort to try to reach out to others in the work. The Eternal Blip (A Mary Celeste Decade) basically tracks the past ten years, since the year when the financial crash happened to now, asking if others feel the same way as I do: that with retrospect it feels like a lost decade (?).

Now, I haven’t been forced to rely on food handouts, had to choose between heating and eating, or found myself on the streets (an awful new normality in the past ten years). But in hindsight I feel like it has stunted me, almost caged me in a previous point of my life. I feel like when I shut my eyes and reopen them, I can’t remember the decade, as it has been sucked from under me.

The parallels between a long depression, and the memory loss it can cause are very closely tied, and I can only hope that it isn’t a lone experience, because I want the other aspects of the work to make sense to people, as they are where the optimism lies.

Within this submerged soundscape there are points of emergence that correlate with times within the past decade when I felt ruptures in default reality fabric occurred. For good or for worse, new horizons felt palpable, as was a sense to act. Ultimately the default reality fabric reasserted itself, and, arguably the depression/memory loss resumed.

From the 2011 English riots to Trump, from Corbyn to Brexit, constructive or destructive, the fact is that these ruptures offer(ed) alterior possibilities from the business-as-usual outcome. I don’t know, I just know how I feel /felt in these moments seemed to contain some kernel of something other, that allowed me to imagine myself in relation to the world in a different manner.

Below is a series of maps that work with the same motives, which are an extension of mapmaking I have been doing for around 5 years now.

Battlegrounds between potency and impotency

16.10.17

P1010522

05.10.2017

 

P1070905

 

12.07.17

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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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