Page 47 - Studio International - September 1970

made. In doing this both artist and spectator
must be prepared for success and failure, for
excitement and tedium, for both fast and slow
development.'
(Following on from a dissatisfaction over the
dependent structural relationship between
installation and gallery) ' ... the decision to
make structures that are independent of their
areas of containment yet still anticipate a
dialogue between the two seems a good
solution, recognizing both room and structure
as being self-sufficient but inter-related.
Equally viable is the opposite solution of
(probably) discarding the 'object' in favour
of totally integrating the work into the
enclosing space. This implies complete accept-
ance/consideration of a specific interior, so
that any alterations/additions made to the
room will not interfere with the existing
spatial or structural condition. The proba-
bility is that works arising from this sort of
approach will be concerned with walls, floors,
and ceilings, although solutions may be found
for occupying the inner space without
destroying it (e.g. Morris's Steam; Larry
Bell's dark room at the Tate).'

CONTINUOUS EVENT PROCESS-EXTRACTS FROM
STATEMENTS BY IAN BREAKWELL 1969-70
`My work over the last few years has been in
various media : collages, visual-texts, prose-
texts, drawings, photo-collage, photo-silk-
screen, events, theatre-events, structures and
installations, large photographs of episodes
from the events, and combinations of these.'
`Individual change/change within the indi-
vidual instigated by himself/this change, of
necessity, is inwards/then the evidence of this
process may be presented, thus turning out-
wards/the presentation of evidence is itself
part of the process/this evidence includes
collage in various media, and may include
events which are ephemeral in their making,
though evidence of them may be extended 6
John Hilliard
thereafter through various media, e.g. photo- Affirmation 1966
graphy, printing, film, TV/the artist presents Wood, polythene rope, steel
30 x 7 x 14 ft
this evidence which is of direct relevance to 'I work in general for particular locations and for a
himself and may be of more, less, or no rele- specified length of time. There should be no surplus
of work (i.e. hardware) hanging around'
vance to other people.'
7
`The collage situation which has seemed to John Hilliard
give me the most scope is that of the "event". 765 Paper Balls 1969
15 x 15 x 9ft
In an event-performance I can use film, slides, 'From my point of view, therefore, the gesture against
taped and live sound, physical action, large- a kind of permanent large-scale "object" sculpture
came rather late'
scale structures, etc. etc. to produce a per-
8
formed collage programmed through a John Hilliard
specific time-span.' Photostairs 1970
`I have also, increasingly since 1966, made a number
`The time-span of the event-performance is of obviously ephemeral gestures that were knowingly
different from the time-span of the event- documented by photographic means-sometimes so
that anything material was used deliberately as an
process, a process encompassing gradual con- expendable "prop" to make a photograph as a
ception of idea/format, realization of that product'
conception (film, photo-enlargements, etc.).' 9
Ian Breakwell 11
`Other elements in the event-process : ALL Episode from UNWORD 2; performed: Institute of Ian Breakwell
day-to-day activities; the event may be a Contemporary Arts, London Oct. 1969 Wordscape (Photograph 45 x 65 in. of floor
installation) 1970
collage of activity extending through any 10
Ian Breakwell 12
length of time; evidence of some of these Detail of Wordwalls at Camden Arts Centre Ian Breakwell
activities accumulates along the way and Dec. 1969 Episode in a small town library April 1970
Ink, emulsion, collage, photographs on board Head-dress made from: chicken-wire, foam rubber,
occasionally remains.' q 24 x 12 ft magazines and wire