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Telekinesis: Ghost Pornography & Fabricated Phenomena (Watch-It Gallery, May 13 – 28)

4 May

Telekinesis Flyer [Ghost Pornography (Silver), 1980]

Robert Holcombe: Telekinesis: Ghost Pornography & Fabricated Phenomena (1953 – 1980)

Private View: Saturday 13th May 2017

6-10pm

Open by appointment until 28/5/17

Watch it Gallery
18 Granville Road
South Woodford
London, E18 1LD

Tube: South Woodford, Central Line

E: watch-it@outlook.com

Web: http://watch-it-gallery.blogspot.co.uk/

Robert Holcombe is an entirely fictional British artist (b. Leeds 1923 – d. Exeter 2003) whose fascination with collage was first discovered when he began cutting up magazines and rearranging the parts whilst convalescing from injuries sustained in 1944, during active service in Malaya. He was a radio engineer, a contemporary of Richard Hamilton and Eduardo Paolozzi at the Slade School of Art and, from 1955 until 1988, a planning officer in Leeds. Although Holcombe did not exhibit publicly during his lifetime, he made most of his work under two pseudonyms – Gene and Michael Harrison. His works are generally marked by a fascination with consumerist excess, inscrutable apparitions of surgical, sexual, supernatural and folkloric symbols inside modernist interiors, or unsettling disturbances of ordinary space.

Telekinesis Series (1953 – 1969)

Most of the modified magazine photographs and private snapshots making up Robert Holcombe’s Telekinesis Series were created in the mid 1950s, though examples exist from as late as 1969, and other works in the series are fabricated to resemble photographs of an 1880s or 1920s vintage. The motivation behind the whole body of work seems to have been both an interest in the unreliability of photographic evidence and a basic fascination with the telekinetic and other supernatural phenomena the images themselves blatantly fabricate evidence for. Holcombe explicitly cites the notorious Cottingley Fairy photographs, taken by ten year-old Frances Griffiths and sixteen year-old Elsie Wright around 1917, as a key influence on his visual approach to making these works.

Ghost Pornography I – IX (1980)

“I suspect Ghost Pornography began from an observation that the way fabrics were represented shifted noticeably in fashion photographs and advertising at some point during the early 1970s, when rather distinctive kinds of suggestion began to appear in the folds and rumples of clothes and bed-sheets in the pages of magazines. Before this, sex is attached to products in relatively transparent ways but, after 1970, a shift occurs, with sexual cues coded into the products themselves. Was I seeing things, or was this a marketing progression, from the selling of products as mechanisms linked to the achievement of sexual fulfilment in the world, to selling them as things invested with sexual desirability in their own right? From the perspective of today, when the game has moved to another level entirely, these subliminally labial folds and phallic bulges in clothes and beds seem almost innocent: the ghosts of sexual desire coded into the fabrics so often used by small children to make the likenesses of ghosts. Hence, the notion of the ghost in these images as a purposefully animated bed-sheet, as much a matter of Scooby Doo cartoons as the uncanny qualities generated by actual hauntings. These nine Ghost Pornography images, formalised on a grid of chromatic variations, cut several ways. They are simultaneously, I hope, a slightly unsettling joke; uncanny; perhaps even genuinely (if marginally and a bit perversely) pornographic though any true suggestiveness is only ever really imagined by the viewer in response to the title…”

[Robert Holcombe: Letter to Cy Albertine, November 1998]

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From: Robert Holcombe’s Telekinesis (c.1954 – 1957)

6 Jul

Telekinesis II (1955)

“The game begins when the children, in whatever numbers are available when the desire to play takes hold, form a circle and focus their collective attention on a point in the ground at the dead-centre of their gathering. Each child then imagines the ground opening, mentally invoking a wound or vulva, a mouth or eye at that single point in space. Once the correct degree of focus is achieved each child in turn joins with the song that will slowly grow in volume and force as it passes repeatedly around their human circle, sometimes in the form of an elaborate but instinctively formed round, sometimes as a massed single chant as all the voices present merge into one:

Open, open, turn this earth to mouth,
Show coral lips and ivory teeth,
Cleave this ground to bring forth life,
Slice this stone with a surgeon’s knife.

When the required mass of vocalisation and psychic focus is accomplished a slowly expanding oval will appear in the air, its appearance not unlike a shadow’s penumbra surrounding a brighter central area. Witnesses have variously described this initial apparition as alike to a tiny nebula or cellular form hovering an inch above the ground, its circumference widening at an even rate. After a few moments this portal – for this, it is said, is what has been conjured – reaches its maximum dimensions, as determined by the numbers within the circle, then raises itself to conclude a smooth ascent somewhere around the average waist-height of those comprising the circle that has invoked it. It remains stabilised at this height for as long as the chant is sustained…”

Telekinesis [Brides] (1956)

Telekinesis [The Forest] (c.1954 - 1957)