Tony Trehy is based in London and produces work as a poet, artist and curator. His work for The DrawingSpace Melbourne has been emailed over in the form of 4 chapters of text and instruction. Three students from RMIT Drawing were involved in the process of interpreting the instructions, transcribing the text and installing into the gallery. 

 

Mirror Canon Snips

Palatine. descending begins with both registers. of the sequence are important. the undiagnosed wait. a. shimmering caused by the highest perceivable frequency and the inability to focus on the multitude of rising tones. Rise and going. Proposed that the piece be revised and realized the lower threshold won’t be treated as if it is between the upper and the lower threshold, rather all entrances are timed in such a way that the ratio between successive pitches is the subsequent voice imitates the initial voice only weakening. the peristaltic itinerary of thought stooping to the prone who must shade. the ability to breathe necessary to stay alive; iff not sufficient to stay alive, there is categorically no upper threshold – but the pause/non-zero on the landing to breathe necessary (to be) above an illusion of ever-deeper, should be used only for uncomplicated work of short breath. Amusia the collapsing material. Vertigo o the Cut for a crashing chord. the scale of a moment of first or last anniversary in between and leaving footfalls as the breathers and catalysis. Amusia? Pedagogy us only with amusia. spiral similarity equals a dilatative rotation, the product of a dilatation and rotation – the upper and lower thresholds exactly one octave apart. The lower the threshold is no more than one at or below the lower individual threshold to be below is both and meets the upper individual threshold the lower threshold meets or exceeds the standard. Lines synonymous with their content in either order concatenation between breathers and catalysis between breathers and catalysis worth nothing unless they predict something new, no non-trivial zeros except on the line iff it redirects here if something is new to us it is new to everyone; people perceive the existence of these risks and react by shopping or perseveration – but going is commutative with coming back, lines of pipes and reflected light expand walking upward, expand walking to the art of falling arrested in the mechanics of ankles, knees, joints directed to falling forward, but over time a hierarchy of mediations, vertigo with auxetic liabilities places many places between here and there: at the bottom already landed a viewpoint a place of no children no greater things, each suggestion of a gentler mood is fiercely supposed. The truth of either of the statements requires the truth of the other.

 

 

Response from a student that assisted with the installation of Tony Trehy's Mirror Canon Snips

Physically breaking the lineal structure of Tony Trehy’s text Mirror Canon Snips to match the immediate architecutral environment of The DrawingSpace, is a process that makes one consider, both the practice of reading and the way one uses text within a physical space.

By breaking the habituated pattern of reading into snips of text, one recognises how the flow of text is often lineal. Taking text outside the well-worn practice of reading left to right, top to bottom. By reshaping the text to match the once forgotten stair well space the gallery viewer is no longer an observer but a participant whose own practice and ways of reading are challenged. 

Cutting the strips of text, and placing them within the space reinforced just how disjointed the journey Trehy takes his viewers on is. The fluidity of the movement of how one reads becomes prevelant and the viewer is forced to reassess both the architectural space and the way text lingers like memories within four walls.

 

Emma Rochester

 

Contributing Rmit Drawing Students

 

Bonnie Hanlon

Virginia Sargeant

Emma Rochester