To Depart – Interkors Magazine 2015

TO DEPART

Resistance is a symbolic gesture of the body.
All active resistances

to what we see,
to what we hear,
to what we say
our bodily reactions.

What is this speech rising in the air while the object passes underground?

An act of resistance.
in the music,
a scream to depart.

We navigate our bodies in travel, in moving.

A tarmac as liminal space
a route needed of passage, arrival & departure.

It is not a site of existence but an object to be utilised.
It is in resistance-with the tarmac that we are able to travel

feet
hands
form.

We must locate the tarmac first—
to press against
to push away
to force down
as the pressure allows momentum to move up.

Transparent threshold.

It is the habitual process of movement that is constantly moving.
To move above and below,
to shift from left whilst turning right,
to lay standing up.

Our relationship with the ground pivots in pragmatic poise based on the points of our bodies’

gravitational centre. Liquid Desire.
We press along the surface.
We are met with resistance rather than a plunging through the plane of the tarmac.
The space of transition does not desire transit but rather arrival.

Seeing the transition through symbolic moments,
through physical perpetual moments,
through the imaginary of the transition is not the act of beginning,
it is not to stop
it is not to arrive
but is to see.

Our bodies and the surface beneath symbolise our desires, our relationships.
Our transition collectively with our active resistance from below is our multiplicity,
it is our proof of existence,
and it is my want of acknowledgment.

If we embody our own roads,
if we acknowledge our own beings,
sexually
physically
symbolically
We will finally see ourselves in the tarmac.

The tarmac is the space of transmittance in a formation of pre-conceived ideas, a complete existence of the transitional space is its complete non-existence, necessary presence but never felt. Touched through need but not through love or through sentiment.

It has no feeling other than use.

Our desires of ourselves in our form and in the form perceived by others are predefined by our imaginary.

We see our reflection in movement, a body captured between transition and resistance.
It is an instrument but cannot see its own music.
It is a movement that cannot see its own resistance.
It is a body which has yet to see its own reflection.
It is a predefined transitional zone.
It is a route travelled by all.

A route defined by one but used by a multitude.