Clear. Unworded, known, defined: matching. Bit for bit
Bright white in black space: Europa dances. Hunkering hierarchies trudge, eclipsing calm alignments, unyielding, unrelinquishing – centring – contracting systems of our solarscape unevenly: perdurable pale umbras echo bleak abstractions; fatal oceanic breathing muddies boundaries to obsolescence, precipitating brittle entropy.
Cold scale blades of light shiver through sentience, queering a farther moon’s reach. Bending distant ends of radiance, held loose, unfixed, awakening polyamorous gravity’s float between horizons, opaque ratios ripple softly through inanimate, intimate voids, here; quivering substantial masses sublimate to stranger gases, fantasy forming
Lunar Maria, quizzical, stirs at the stewards dying space
Crusts crack and crumble aeons closer, spitting basalt hot like hell. Insoluble surfaces break into nothingness. Soft films of fire, abundant in neighbouring emptiness, ignite, here; under the dermis of the mind.
Currents of potentiality? Notes of haem seep from terra, identical fields indiscriminately anchor, erecting hardships through every cruel calcaneus.
From Jovian to elegance, in pluriversal fabrics, we succumb; we take care of these homes and these others.
This asks everything of everything.
Two fists fitting, moulded, holding their heart shape, repeating digits contour, tessellating the swirl
Unhurried canals carry prints in matrix through caverns and caves between vertebra
The body’s spray repeats itself Sacks, slings, wings In to out a form that rings of other things that might be felt native static charges sunken breath a steady rhythm of activity and rest pumped in the cage undiminished in secluded regions veinous legions retreat with stealth uncloaked naked caked expelling stale and stagnant noxious toiling parting, claiming more to sink and detonate in known coordinates all fields mapped each expanse charted no outlying shallows blooded every bit
spooling becoming returning through brains of brains of time blind thumbs feeling, painting pictures they see lame eyes occlude, inscribing textures they touch indigenous synesthesias repeats the body’s spray
Pools fill and fall from openings opening to the light to let light in
exchanged at the membrane
Whole globes plunge Rivering, tiny streams, imperceptible, tempestuous steam Pooling in to out, drawn down skin Gathered at the peak at my chin
Pooling out from twinned openings at the thought of the pink and purple of the great salt lake minerals matter here, there The same ink
Always, always fluid I am bathed, I forget, I am bathed, I forget touched on the shores of clumsy truth where seas once covered land, halides, sulphates fluid many years, many, many, many years now Solids, gasses, native elements, Gold, Silver, Sulphur, diamond Carbon, hydrogen, oxygen, nitrogen inert, dissolved, transformed inside seven fluid states alive
Pooling layers sink and set blood to bile to water to wet How it travels How I travel I’m traversed and permeated and permeating all membrane and none bone to sponge breath to lung lymph to blood to water to one of many ones
I shake up the cell, this most fragile organ touching ground touching air time; the epochs: moments ungather And it is the most luscious spill ebb eddy
My container is quaked Shaken, stirred, pulped And it is a most impoverished evaporation
I’ve been minnearial for a very long, very long time now Inorganically materialised, here, there sudden wisps, colonising growths; >skin, blankets of skin-beefy tissue. Globular, clustered, earthy, resinous, vitreous jewels – segments of something citrus, maybe fleshy may be soft: delicate to bite. Morbidities. Forests. Abundant cemeteries. odourless death, the look of death I am deathly curious. What cellular resonance, what molecular remembrance? No resemblance.
Immineral Species is a series of sculptural interventions charting a grammar of liberation from the colonial, gendered, white depictions of ‘Man’ and its associations as a universal and central subject. Immineral Species explores the interchangeability of writing and sculpture, using language as material and site for speculation and disturbance: disturbances between aggregate symbols of ‘Man’ create new understandings of the human. Interventions are positioned as an interstitial geopoetic that destabilises, re-situates, re-routes, and withdraws from liberal-modernist figures of ‘Man’ in anthropogenic, geological, and social discourses.
Immineral Species has been constructed through extended engagements revisiting multi-modal processes for solo dance making, transitioning between photographic studies, writing and embodied practice, approaching image, colour, language, and the experiential anatomy of the body as material. This transdisciplinary process examines compositions and properties embodied, expressed, and finding consciousness within diasporic subjectivity, and the relations between internal, terrestrial, and extra-terrestrial systems.
Immineral Species is a durational sculptural intervention curated as an accumulating series of stratigraphic, textual motifs, redressing fables of ‘Man’, perhaps rendering these obsolete. Immineral Species asks: what visceral, ecological, and astral relations more richly articulate the human and reveal the ambiguity, ambivalence and complexity of human awareness?
Submitted for Sculpture In The City 2021:
‘Immineral Species’ is a turning point in Adam Moore’s transdisciplinary performance practice. Pivoting from live performance necessitated by global events, ‘Immineral Species’ steered his new body of work towards installation and sculptural intervention. ‘Immineral Species’ echoes the textual, flat paintings well known from the likes of Ruscha, however, Moore is seeking to push the limits of embodied performance practice, exploring the interchangeability of dance, text, and photography, as material and site for speculation and disturbance. In ‘Immineral Species’, disturbances between aggregate symbols of ‘Man’ create new articulations of what it means to be human. Charting a grammar of liberation from the white, colonial, and gendered depictions of ‘Man’ and its associations as a universal and central subject, Moore’s process examines compositions and properties embodied, expressed, and finding consciousness within diasporic subjectivity, and the relations between internal, terrestrial, and extra-terrestrial systems. ‘Immineral Species’ is a transdisciplinary gesture, positioned as an interstitial geopoetic that destabilises, re-situates, re-routes, and withdraws from liberal-modernist figures of ‘Man’ in anthropogenic, geological, and social discourses, and asks the question: what visceral, ecological, and astral relations more richly articulate the ‘human’ and reveal the ambiguity, ambivalence and complexity of human awareness?