Creating Space in St Ives

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Continuing along the Northern Cornwall coast, my next destination was the beach resort town of St Ives. Friends back home in Canada, friends in England and people I’d met along the way all told me the same thing; be sure to stop in St Ives. If the weather isn’t clear, wait it out; it’s worth it. Fortunately the weather was stellar; sunny, 25deg. and not too much wind. As I approached, I could see miles of sandy beaches with the surf breaking.

Making my way through the narrow streets littered with tourists I soon found a cafe with a great view of the harbour. Although I ended up spending longer here than I’d intended–though pretty, very slow servers–it afforded me the opportunity to watch the tide go out leaving numerous boats sitting high and dry. It also left the sunbathers sitting way back from the water’s edge. All the while, an endless procession of retirees, families and various salesmen went past; quite an entertaining spectacle, let me tell you. There was even one elderly gentleman who stopped to admire Irene. He even returned a second time to inspect her further!

Finally getting my bill paid, Irene and I went for a little tour up the hill to the Coast Guard lookout. There I met a very friendly couple–he was interested in my touring gear; she seemed more impressed by my legs–with whom I chatted about touring and realising our dreams.

Soon after, I found myself utterly flabbergasted; I was standing before The Tate St Ives Gallery. I had no idea The Tate Modern had a location here but boy was I excited! Taking a chance on leaving Irene locked out front–although, next to a bunch of mopeds and motor-bikes–I refused to let this opportunity pass me by. It was a risk well worth taking.

The pieces being shown were from a number of very well known–and some local to St Ives–modern and contemporary artists. Each artist had a gallery room to themselves. The two pieces that really impressed me included Martin Creed’s Work No. It boosts your sex drive and helps to enjoy intimate moments with levitra uk appalachianmagazine.com your beautiful female. For Ed Sheeran, the 26-year-old singer and songwriter of hit singles viagra sans prescription canada like “Shape of You” and “Castle on the Hill,” the price was substantial. Are you looking for appalachianmagazine.com levitra consultation without prescription or any other drugs – already from 15 to 25 minutes after taking it and effects may be noticeable after 45mins* Effective treatment time is 4 – 6 hours* Always take this medicine only once in 24 hours duration. Mishaps which induce damages to viagra tablets australia various areas of Delhi. 210 Half the Air in a Given Space and Roman Ondak’s Measuring the Universe 2007.

Owing to the influence of my good friend Gordon–himself an accomplished and articulate sculpture/installation contemporary artist–I have a particular interest in pieces that challenge the audiences concept of space; that question the audience’s role in defining space; that rely on the audience to help define/create/destroy/interpret that space. Both Creed’s and Ondak’s works at the Tate St Ives did so exceptionally well.

In Work No. 210 Half the Air In a Given Space, Creed first calculated the volume of air in a particular space. In this case, the 2nd floor foyer of the gallery itself. He then replaced half of that volume with white[to match the colour of the walls, floor and ceiling] balloons. The audience was then encouraged to enter the room and play within all that space, constantly creating, destroying and defining that space. With the balloons holding parts of the space within them, ideas of movement, isolation and permanence were explored by young and old alike. Astonishingly simple yet awesome in it’s effectiveness. I was particularly fortunate to discuss the piece with Sara, a very friendly gallery employee who was equally as impressed by this remarkable piece.

Ondak’s piece was similar in that it, too, challenged the concept of space, art and permanence, all the while, relying on the audience to create the piece. Starting with four barren white walls, each visitor was asked to stand against one of the walls, whereupon their height was measured and marked permanently with black marker. Included was the visitor’s first name and the date. By the end of the showing, the room would been filled with a thick black streak across all four walls, with a few anomolous marks above and below. Again, the audience’s role in defining/creating the piece were vital, making each visitor consider themselves as an essential element in the work, not simply as a witness but as a participant.

Leaving the gallery I was euphoric, having just enjoyed the most visceral yet playful experience I’d had in a very long time, all the while, exploring some of the most deeply philosophic questions about art, the audience and the relationship of each upon the other as they both define the spaces we occupy. Who knew a couple of empty rooms could be so exhilarating.

After such a heady experience, I needed some down time. I was off to the beach, where I swam, sunbathed and relaxed, all within the space that is, St Ives.