The performance took place on a Saturday afternoon: garage to bric a brac stall, bric-a brac stall to performance space, performance space to trace.
We were all tea drunken&chattified.
Then suddenly we were ushered into the space; silence. Bums on cushions. In a horseshoe. Quiet. We knew to be quiet . We wanted to be.
Eyes on the lady.
She (Carole) stood tall in her silk komono. Commanding us to look. To respect.
Again, we wanted to.
Fondness pouring out for her into the space. Unspoken fondness, support.
A smile of warm recognition at a close friend before she removed the robe and knelt gently, carefully,
on the floor.
She drew around her toes with a piece of chalk. WITH SUCH CARE. I was moved by that.
She went around the room tracing and drawing like this for some time. Breathing deeply. Eyes shut. Concentrating and feeling.
At the end of her bodily travels she sprinkled over the lines with flour. Again gentle.
A pitter patter of flour distributed in regular wafts by an arm accustomed to butter&churning.
An arm that knows well the kitchen&the watering can, the teapot&the wooden spoon.
Some people transitioned back to the chitchatchat, talking talking. NOISE about the performance.
I didn’t want to: ‘No thankyou. Goodbye.’
I prefer to keep the experience like this, articulated in silent words. To be looked at.
– Louise de Froment
Carole luby 24th july 2010
Performance 25 stratford grove
It’s about the physicality of time. Time lived in and through and used
as a medium. If you break patterns (could be eating, sleeping, or
walking) and do some kind of ritual work or engage in an activity that
fills in those spaces, then different kinds of experiences may open up.
My work is concerned with depicting moments in time that represent
change and transitions between memory and reality.
I’m dealing with living in an ageing body; the daily ritual of looking in
the mirror, observing the gradual onset of wrinkles, of other effects of
my body moving relentlessly towards entrophy. I’m scared of the passing
of time; it can feel oppressive but I would’nt wish my work to reflect a
denial of that process.
Drawing round my body presents a psycho-physical dislocation and
displacement and in trying to find a continuity of form in motion I realize
that unravelling accepted or familiar concepts about inner and outer
worlds is the essence.
The work is always a temporary site of rehearsal or potential where
infinite solutions might yet be within my grasp whilst making an
allowance for unforeseen events to change or challenge the nature of the
These explorations support a kind of alchemical process where my
tentative and improvisational activity might emerge as an actualised
artwork. Or, perversely it may demystify the practice by revealing the
mess and uncertainty which precedes and is a part of the work itself.
– Carole Luby