{"id":9803,"date":"2021-12-20T15:39:42","date_gmt":"2021-12-20T15:39:42","guid":{"rendered":"https:\/\/www.dellagooden.co.uk\/?page_id=9803"},"modified":"2025-02-12T11:56:50","modified_gmt":"2025-02-12T11:56:50","slug":"that-tangled-monster","status":"publish","type":"page","link":"https:\/\/www.dellagooden.co.uk\/index.php\/writing-by-della-gooden\/that-tangled-monster\/","title":{"rendered":"That Tangled Monster"},"content":{"rendered":"\n
<\/div>\n\n\n\n

That Tangled Monster<\/strong><\/h2>\n\n\n\n
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Resentment for the ravages of time (like the decline in our health or the depreciation of our car) is common-place; as is a disinterest in the more complex machinations of ‘time’ – these being so beyond our ken, why bother?\u00a0\u00a0The complex nature of Time is nothing short of grand-scale alchemy, so it\u2019s much easier to just leave that tangled monster be – it’s always done its thing, so let it get on with it\u2026 life\u2019s complicated enough, isn\u2019t it?<\/p>\n\n\n\n

And yet each of us must manage our own perception of a temporal, material world. We have to cope as it unfolds around us, and we all nurture a certain level of competence so as to operate inside it. Our endeavours are perhaps less resolute than the word \u2018operate\u2019 implies, but we have a tool – we\u2019ve done some work. Under the cold, reliable gaze of the clock we regulate our lives; keep appointments, get paid by the hour, know how old we are\u2026 This is useful stuff, and it\u2019s all because we created units of measurement based on an understanding of the movement of our planet around a star. An invention of necessity has given us a version of time that suits us well.<\/p>\n\n\n\n

When I think about the Earth circling the Sun it triggers a curiosity for unimaginable distances and a sense of wonder at how gravity causes motion on such a scale… whilst remaining invisible. It isn\u2019t concepts of time<\/em>, it’s concepts of cosmic geography at play in my head. How clever we were then, to invent \u2018clock-time\u2019 as a function of celestial-terrestrial spatial<\/em> relationships. <\/p>\n\n\n\n

In contrast to the measured, linear progress of clock-time, consider the personal experience of time passing, of duration, of life and living. Consider how memories of what has happened and expectations of what might be, can become compressed into a dynamic, living-present<\/em>. I can make decisions now, that are entirely wrapped up with what has happened before, but I don\u2019t scroll back through my mind\u2019s diary and plot my course with any certainty; I may just as well dive in. I am myself, and I keep going. If I make the effort to recall something important from say 20 years ago or 2 years ago \u2013 it isn\u2019t the numbers<\/em> I\u2019m thinking of, it is the thing <\/em>itself \u2013 particularly its sense and relevance to me now. In this way time is entirely my own construct, and about my personal, mortal choices.<\/p>\n\n\n\n

Occasionally an involuntary thought or feeling, whatever the trigger, can feed the past uninvited into the present; and so it becomes new, it becomes \u2018now\u2019 \u2013 the past even becomes \u2018what now?\u2019; potential. An emotively driven and reasoned out internal system of functioning somehow works in tandem with whatever mysterious and external structures of time and space exist, and over which I have no control.<\/p>\n\n\n\n

It is these thoughts that are relevant to the two works \u2018Rue iii\u2019 and \u2018Rue vi\u2019 in the exhibition \u2018Temporal Objects\u2019. Although completed this week, they have evolved from \u2018The Call\u2019 (2018) an installation made 2 years ago across a large wall, next to a window, and which started with a single, material object – a black wooden hoop pinned at an angle. Graphite lines and more hoops followed. Over time I added and removed hoops, drew and rubbed out lines and created alternative light sources. I lived with it, watched it, worked with it. \u2018The Call\u2019 inevitably spread across the whole wall. <\/p>\n\n\n\n

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\n
\"Rue
Rue iii & vi | Della Gooden | installed for Temporal Objects<\/sup><\/em><\/figcaption><\/figure>\n<\/div>\n\n\n
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At the time I wrote:<\/p>\n\n\n\n

\u2018In a practical sense the role of the artist in this shifting parade feels no more or less significant than that of the sun. The sun moves the shadows, the artist fixes a circle at a new angle, rubs out a line or lengthens another. Such developments are absorbed and waited upon\u2026 more change will occur. Meanwhile zones of intensity become identifiable from the herd, even possible to name like constellations in the sky. \u2018Dinner Plate\u2019 and \u2018Egg and Spoon\u2019 were so discovered.’<\/em><\/p>\n\n\n\n

**Extract from \u2018Stuff Happens\u2019, 2018, published by Arthouse1, London<\/p>\n\n\n\n

<\/div>\n\n\n\n

These \u2018constellations\u2019 became instruments of the immaterial: of light, time, and change. Shadows moved, spaces opened up, viewpoints differed… nothing that amazing, pretty much what you would expect (but then we \u2018expect\u2019 so very many different things). In the end I took the whole thing down – no room for it.  <\/p>\n\n\n\n

The significance of \u2018The Call\u2019<\/em> is its inexhaustible possibilities. The configurations and reconfigurations were done in earnest; the shapes and spaces, the lines and air \u2013 there was an intentionality that may have presupposed future work, I\u2019m not sure; I was too wrapped up in it. Interestingly, configurations that I am sure were never there I now hold in my imagination, and they are indistinguishable from those which can unreliably be said to have actually been there… <\/p>\n\n\n\n

<\/p>\n\n\n\n

\u00a9 Della Gooden, May 2020<\/h4>\n\n\n\n
<\/div>\n\n\n\n

‘That Tangled Monster” was originally drafted to accompany my work ‘Rue: iii & vi’ in the exhibition ‘Temporal Objects’ at Saturation Point, London, 2020. Click here<\/a><\/strong> to see more images of it. Images of all work in that exhibition can be found using the link “Temporal Objects’ here<\/strong><\/a><\/p>\n\n\n\n

<\/div>\n\n\n\n

**Extract from \u2018Stuff Happens\u2019, 2018, published by Arthouse1, London<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

That Tangled Monster Resentment for the ravages of time (like the decline in our health or the depreciation of our car) is common-place; as is a disinterest in the more complex machinations of ‘time’ – these being so beyond our ken, why bother?\u00a0\u00a0The complex nature of Time is nothing short of grand-scale alchemy, so it\u2019s […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":2858,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"advgb_blocks_editor_width":"","advgb_blocks_columns_visual_guide":"","_themeisle_gutenberg_block_has_review":false,"footnotes":""},"class_list":["post-9803","page","type-page","status-publish","hentry","entry"],"yoast_head":"\nThat Tangled Monster | Della Gooden<\/title>\n<meta name=\"description\" content=\"'Temporal Objects' written by Della Gooden to accompany her work 'Rue iii & vi' in the exhibition 'Sunday Salon: Temporal Objects' at Saturation Point London\" \/>\n<meta name=\"robots\" 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