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Friday, 31 May 2019

Heimlich Dead Cows, (SPrice) 2017










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 Rolling around  
in POPS to slough 
 from distance or 
 the movement is not  
remunerated it is 
  morphed into the 
       final demand 
carved polyurethane foam 
resembles the 
 chemical reagents of home 
as expression of developing
   a mobile version of Snake
  you used to play at a burning 
 pyre where things
 are made again and 
again like reinforced end-notched
  glued laminated timber beams
 in scenic  paint it’s
 the way they see their life

Thursday, 16 May 2019

it’s got no agenda (DRAFT/UNFINISHED)

          




  Prion aspiration creeps 
   the floor as awful myth, 
in pre-construction celebrity maws 
           at award show you need money for that 
         with maquette portrait 
            sitting out your mother
          again to cook children dinner: 
'I have a screen inside my head'
       gone right back to cutaway 
                  no reverse shot! 
          one must realise that 
stars aren't allowed to think
             in place of the other 
                   will feature nothing but willow,
   birch and primrose for nature
            of the fundraising Gala is
             every sensory access 
signals point growth 
         in demented wave 
       one to one tender the dead cyclical 
          landscaping seriation type poor people
in device hanging 
          photo-montaged air 
     the trustee will call again 
   on Monday and issue statement 
  by platelet fill up early
    morning urine under label 
    from Arcadia out one sees 
   all these unscathed 
plods in utero caning 
           the standpoint cronyism 
half-out half-in 
as intense stretching and 
      burning viewpoints 
         on large scale commercial hire 

bled to omnibuses



What's the function of labeling every day, still-functional things and actions as artworks? Are they still readymade artworks when they're not in the context of the installation, and if so how does one relate to those items outside of that context?



Tuesday, 14 May 2019

Friday, 10 May 2019

Power to the Peaceful (DRAFT/UNFINISHED)








On a lathe well lined glen
         opens out onto 
the longest pay
               squeeze in 200 years
    which is when 'working people
deteriorated in every
            street corner but still
say make total destroy 
           around chrome
    balustrade fronted traffic
environmental zone 
           chicanes are both good and bad
 because a blockade keg is
a still from the viewpoint 
of Bakelite light switches 
 goes with the Cotswold stone
     in the fanned horn off 
benches with armrests 
and crime of public
steaming flint cone 
digest any public utility cobble
        no happy accommodation 
that simulates pain in a 
vast six-story stucco mansion
 a rambling farmhouse in 
Sussex countryside and a 
mews house in London
the main was Band H trailing
tinsel in a velveteen case
by making them untouchable
for the old days charmed
up in one of these
finishing buildings
or otherwise eating horse