Entangled Part IV: Messages from Nowhere by Terry Flaxton is now live.
The next chapter in the Entangled project unfolds across three new works: Overself, Faster than Light, and Coming to Rest. Framed as stages in a cosmic cycle, the collection traces consciousness from solitude, through creation, and back toward unity.
Meditative, philosophical, and quietly immersive, Part IV extends one of Sedition’s most significant ongoing bodies of work. With Part III sold out, this release offers collectors a rare opportunity to acquire a new chapter in a landmark series.
Now available in limited editions on Sedition.
New Winter releases on Sedition by Terry Flaxton: Species… If in London catch the Sedition Soiree tonight, 15th at the arte otel - panel Mat Collinshaw, Terry Flaxton, Nick Fudge, @Sedition@digitalartweek@Art
New Winter releases on Sedition by Terry Flaxton: Life on Mars… Catch the Sedition Soiree this Wednesday evening 15th at the arte otel - panel Mat Collinshaw, Nick Fudge, Terry Flaxton @Sedition@digitalartweek@Art
In this piece called “Trans:Formation", fibre artist Charlotte Humpston asked me to create a video of a performance she’d agreed that our friend and collaborator, cellist Emily Burridge, would create of her musical composition, “Fukushima”. I think in total we had 30 minutes to capture two pieces of which this is the second, the fist being an improvisation that I have to work on when I have time..
Charlotte’s Installation is called "Re:Formation” and Charlotte has chosen to wrap a column in St John's in Glastonbury with gold survival blankets as well as adding two figures wrapped in survival blankets. The message is clear from the choice of materials alone; it’s about people who need help should be given help. Plus, the church itself has a degree of confusion around its values: why are some Christians coming across as un-Christian-like and in opposition to simple Christian ideals? Emily's contribution concerns the ecological disaster in Japan (and can’t help but evoke the human disasters of both Hiroshima and Nagasaki) and her performance echos these ideas around a simple narrative of beginning and finally ending within a deeply dramatic choice of chords and single notes - so "Trans:Formation" is Emily's music in relation to Charlotte’s installation in relation to me trying to do right by both of them.
Last night it came to me, at the end of an hour or so of lying awake thinking through the issues I've mentioned above, that leads me to simply place this piece online with Emily and Charlotte’s consent - and that’s because I started to realise that my compositions were like vessels, or vials of medicine, that carried a message - like a homeopathic message which is minimal specifically because the body/mind responds to the finest of its calibrations that detects something that that is right or is not right - the main point being that gestalt experience is about all of the bandwidth of what is presented to us; such that it is both good and bad, dark and light, all of the panoply of colours of emotion and cognisance. So having said all of that and now stepping back I'll leave Emily and Charlotte in the spotlight. @UMA Performance @Installation@transformation
Here's something from 20 years ago when I'd just turned 50. Before this piece was a celebration of Georgia O'Keefe and after it - Frida Kahlo (the whole piece was called Wings) - and yes I like to keep good company. This piece was called Present Birthday and I showed it to friends during my 50th birthday party. @terryflaxton@digital_arts_computing@artforum@happy._birthday_story
