In particular, this work explores a form of ‘plastic invisibility’, investigating territories of transformation between different states of energy-matter and seeking to frame and invoke material and sensory qualities that are marginal, unstable, dynamic and durational. Much of Mitchell’s work is concerned with producing a tension between the seen and the unseen - both through suggested forces and experimental demonstrability. These unexpected forms freeze a temporal moment and give it solid form.
Sketches of Meteorological Phenomena continued an investigation of phenomena at the edges of visibility and knowledge, through the reimagining of naturally-formed objects called ‘fulgurites’.įrom Latin fulgur, meaning thunderbolt, fulgurites are created instantaneously when lightning strikes sand or particular soils to form glass tentacle-like objects. Could weather supply the model for magic?” (Michael Taussig, My Cocaine Museum, 2004) Hearken then to mana, the basis of magic, according to those early-twentieth-century anthropologists Marcel Mauss and Henri Hubert, who took mana, a Polynesian word, to mean a force and substance that magicians tapped into so as to accomplish their fine work, mana being something “invisible, marvellous, and spiritual.which cannot be experienced since it truly absorbs all experience.” This is most curious and certainly seems to match the enigmatic nothingness of weather talk today, that great something that is simultaneously such a great nothing. “ is something like a branch of astrology connecting the tiny human body to the cosmos at large.why is it that while we love to talk about the weather, what we say is so empty yet strangely satisfying? Could it be that what we mouth are the shreds and patches of previously vigorous magical correspondences?. The Story of a Window (with Matt Keegan).
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