Superpresent magazine – full of poetry, essays, short stories, and visual arts that in someway represent an aspect of the super present – featured works ‘Dust to Dust’, ‘Pause, Kneel, Reflect’ and ‘From This Distance’.
The name Superpresent conveys multiple meanings. It could be something very much in the here and now, or something beyond the present state of being or thinking, or something surreal, or it could simply be a great and wonderful gift. In this sense, we seek to present poetry, essays, short stories, and visual arts that are compelling and in someway represent an aspect of the super present.
Pause, Kneel, Reflect, 2024. Site-specific sculptural installation and live spoken word, Horta de Sant Joan for ‘Els Ports, Natura i art’.
With reference to the ancient ‘carboneras’ who produced large quantities of charcoal within this forest, I created a site-specific installation using handmade charcoal, ash, lime, plaster cast feet, burned books and clinical white cushions. To present the work to the public, a live spoken word was performed with reference to the mountain as cathedral and rock as altar.
From this Distance, 2021/22. Recorded written word artwork.
In the making of From this Distance, words were collected over an 8 month period and embodied the artist’s practice in the isolated environment of The Valley, Catalunya. The artist invited 24 other people to record their voices and send them digitally from across the world. Misselbrook edited them together to form a sound collage layered over visuals of the River Ebro and ants in The Valley.
Dust to Dust, 2018. Photographic documentation of performances to camera.
The imperfections within the natural and built environment were recorded by the drawing of cracks using charcoal. This process was ruining the paper surface with the drawing material as well as my own saliva in an attempt to find the golden section/ratio on the page. The obsessive nature of perfecting follows through to the eventual ruin of the work itself. I set fire to the drawings and recorded this process. The resulting ash was then used as a face mask in order to try to cover the cracks on my ageing face. As the ash dried, the cracks were proliferated connecting back to the imperfections found within nature. The relentless and yet futile quest circles back on to itself, as if the very materiality of my body and its position in the material world is found.