The Race To Reinforce A Fissure Poem by Denis Mair

The Race To Reinforce A Fissure

Rating: 5.0

(in response to an artwork by Knight Sherring titled 'Boat People'*)
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Everything else is a matter of dispersion and interspersion on surfaces. The off-center oval is an arena that alludes to irruptions, or does it peek at an abyss? The oval has the proportions of a racetrack. There is a race to reinforce a fissure. The race may be settling into a static configuration, but who can tell? The short horizontal lines across the crack are clearly there to contain it, but they don't look like they have that capability, so they end up being indicators or gestures. I like the contrasts between organic form, gestural language and neutral, geometric patterns. Reinforcement is done by a series of expedients that work in pairs, but rarely hold parity with each other. The very idea of reinforcing a fissure is odd. Is it done with an intent of closure, or does it betoken acceptance? Is it amenable to the present degree of sundering, or is it under great tension?
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(*'Knight Sherring' is the name Graham Sherring uses in his relations with galleries and clients. You can see more artworks on Graham's timeline.)

The Race To Reinforce A Fissure
Monday, August 19, 2024
Topic(s) of this poem: work
POET'S NOTES ABOUT THE POEM
A reader of my poem on FB commented as follows: 'Now this I do not understand.' Here is my response to his comment: 'Thanks for your honesty., and thanks for reaching out to a private channel of perception. I have a history of looking at Graham's pieces, so variations in his themes jump out at me. His baseline is normally an assemblage of different colored patches and patterns. Then, suddenly, , he throws in an organic form, such as this looming crack. It is focalized in a way that none of the neutral patches are. The short horizontal lines across the crack are clearly there to contain it, but they don't look like they have that capability, so they end up being indicators or gestures. I like the contrasts between organic form, gestural language and neutral, geometric patterns. You can read my take on another artwork by Graham, showing how the organic form takes on a special impact when it's combined with a schematic pattern. See my poem titled MANY-BRACKETED GAIA.'
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