Adze to CODA

adze to CODA - PDF - this is a low-resolution file which you can download Free version the file and print at your own standards - while the version is free normal copyright rules apply. View > page disply > Two-up continuious LLOYDLLOYD GODMANGODMAN Lloyd Godman art projects phase 4 Design and layout copyright - © Photo-syn-thesis 2013 Applicable text copyright © Lloyd Godman Photographs copyright © Lloyd Godman All right reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmit- ted in any form or means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of the publisher - please email for permission. Published by Photo-syn-thesis - 2013 www.lloydgodman.net [email protected] mob. 0448188899 Adze to Coda is published in three versions • Free version - A4 - down loadable PDF - this is a low-resolution file which you can download the file and print at your own standards - while the version is free normal copyright rules apply. • High quality - A4 - while this is an open edition, each copy is numbered and dated - printed from a high resolution file on glossy paper stock and bound the edition has facing pages. • Superb limited edition of 10 copies - A3 - signed, numbered and dated - printed from the highest quality files on high quality paper stock - the images are printed with Epson Ultrachrome pigments on Hahnemule 308 g/m paper and the edition is bound. A collectors item. adze to CODA Lloyd Godman an archaeology of device a aeries of combination photogram photographs Adze to Coda; An Archaeology of Device (1989-1993) con- ..paradox is explored further in Adze to Coda: an archaeol- sists of a mixed media works. Photographs are reflections ogy of device ( 1993 2004). Photographic images from the of what Godman calls ‘wilderness, primeval linkages to “ estate of Wilderness” - native bush at Piha, on the Auck- antediluvian times, remnants of pre-technology, hidden land west coast, rock formations at port Pegasus on Stew- valleys, secrets still obscured, passages to an ancient origin art Island in the far south - are accompanied by shaped ... unsophisticated, uncomplicated, naive, a rawness as yet photograms. The shapes are of simple tools - Maori fish- unrefined ...where we came from ... unaltered states ready hooks, adze heads, patu, Pakeha hammers, saws, span- for the implement’. (Godman) ners, while contained within them are photograms of lay- Relevant to this series is also Godman’s research into the ers of old gears, broken blades, corroded screws - tools history of technology, from simple tools fashioned in hard of the past, returning to nature through rust and rot, ‘ an stone or bone to moving mechanical parts that ‘modify the archaeology of implements that reference their own his- material world’. He calls them ‘implements and devices ... tory’. The series ends with 1’s and 0’s instead of tools , for designed in a certain manner to realise the actions that with the ‘soft tools’ of the computer age we are left with alter substance ... to cut into a black ground ... to effect binary codes rather than physical remains, and the tactility change’. (Godman) of the object is denied. Photograms are used to include these implements ( hook or pulley, vice hammer, scissors, spade, saw screwdriver) Lawrence Jones - At Link Vol 25 - No 4 in works like Smith’s Lookout, Port Pegusus, Stewart Island. (page 18) Their silhouettes reflect motifs in the photographed landscape, an analogy with nature of a process of metonymy through which real objects are laid in contact with the photographic paper during the exposure to light in order to become representations of themselves. In other instances, the photogram proliferates in the series which is already a proliferation rapidly increasing and reproducing itself by the multiplication of elementary parts. Implements inhabit the shapes of nature or extend around the boarder of di- minishing photographic reflections of the landscape. Leoni Schmidt - Art New Zealand no 89 adze to CODA forward - Lawrence Jones 4 Adze to Coda n 1989, I remember standing at the old paper. One to create the landscape image, abandoned fish factory in Port Pega- the next two to create the photogram tex- Isus on the way to the Auckland Islands. ture, and the final one which created the About the earth, scattered remains of dense black back ground that defined both building materials and some old tools pro- the photograph and the shape of the tool. truded from the regenerating layers of na- Each print required a series of templates ture. When I arrived on the islands, I also and careful calculation of the exposures. remember, Chester Neilie excitedly telling Working via a complex series of exposures me of how and where he had found a bone where the effects were latent until the print Maori fish hook, which was reputed to be materialized in the developer tray demand- the very first fish hook found on the islands. ed discipline but also offered challenges Items of civilization are discarded, buried and sometimes frustration. and then perhaps at some point unearthed to reveal something of their past. From time to time I worked on the project and slowly the series progressed from 1993 to 2002. I used a range of tools shapes from Following on the Codes to Survival project, Maori and European to the tools we use in where I combined photographs and photo- our age to affect change - digital binary grams, I decided to explore the relationship codes, computer mouse, mobile phones. of tools and landscape with a combination of photographs and photograms. I decided The project also interfaced with the large to do this in a more direct manner, where colour photograms in the Evidence series. the tools were not just an aspect of the photogram, but were larger and created defined shapes on the photographic print that were juxtaposed by the rectangular photograph. I created the photograms of the tools with a complex texture inside made from two other photogram exposures - in all each print contained 4 exposures on the he early 1980s in New Zealand was a time when an open fire, where we watched ace surfer Carse set many environmental issues predominated, it was fire to the lupines and the hot tongues of flame licked Ta time when government rhetoric proposed large each strand of the marram grass as we laughed with a scale development of natural resources as a means of stupid naivety. It was a place where Dickie showed us financial recovery and future social security in what was the fundamentals of hanging the tail out on the grav- called heMuldoon’s mind a powerful “Think Big force, Schemes”. a force thatWhile hardsome flat eled heavy corners weights in the thattrusty pound Morri ----8, a place where we stronglycan favoured change much,large scale a force development, of immea- others------------. engaged Or moving in our firstmechanical beer-drinking parts: weekends, although Tloudly surablecondemned potential. the rhetoric. In the right It was circum a time- wheelswhen thatwe spiltturn, more arms thanthat swivel,we ever blocks swallowed, and a place socialstance, division cerebral prevailed gelignite, and thean explosion community of becameand tackle, where tight we belts, discovered drive chains, something gears of the nature of girls. polarizedintellect overthat canthese conceive issues. a formula for the that endlessly mesh, springs that tension change of matter. The force of the mind then release, the pressure of steam, hy- to change can also be the mind to force draulic pressure, electrical energy, intricate Onea change. of these Intellectual “think big” schemesfacility, an was author the proposed- electronic components, these have a more aluminumity over matter smelter the to catalyst be built for on change. the grassed A corporeal sand and often devastating effect on flatsmental that impulse, converge the with initialization the expansive of physi tidal- estuarymatter. - They modify the material world. nearcal execution.Aramoana at the entrance to Otago Harbour in Dunedin. The pro-smelter lobby argued that the smelter would create jobs, bring growth and pros-hese are implements and devices of perity tout the thought ailing economy alone has of no an power,old stagnating no city,work, objects of function, conceived while thereal anti-smelter power to groupmodify argued the material that it would be in the cerebral domain, and while detrimentalBworld and without irreparably a subsequent change physicalthe sensitive en-they have a specific aesthetic, they vironment.action. Thought They suggested might be theable effects to conceive of the T smelterare designed in a certain manner to realize woulda means provide to effect minimal change, financial might benefits, be able tobut thedamage actions Aramoana, that alter Dickies substance, crib, Lloyd they Godman are second from left. a fragileinvent environmentdevices, implements and associated of technology wildlife, changedevices of technologyCirca. 1968 that perform the task theor lifedevise style methods, of the residents but the andchange for theseeven- reasonsof matter exchange. These devices are at musttually never comes proceed. from a physical act not from the `nuts and bolts’ end of the process of the cerebral pre-act. For it is physical move- physical change.ramoana Often disregarded, was a place I suborknew- well, a place where ment, flux, exchange, reaction, modifica- dinated to theirin utilitarian the late 1960s tasks, I theylearnt are to surf in a fun-filled tion that alters matter not the mind alone. designedA in suchadolescence, a manner a becauseplace where the the chill of the south Substance altered through action, not the mind understandswind coaxed the the physics sun-sparkled that makes swells with a whispering contemplation. them function,kiss into the the employment hollow waves dictates we searched for. A place Simple tools fashioned in: hard stone, bone, the object’swhere form, the the white existence plumes of ofany spray aes- feathered before wood, bronze, steel, sharp blades, teeth thetic is incidentalshooting skyward or of secondary as the swells concern.

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