Katie Stackhouse, still images from

SONG VESSEL ACTIVATION, 2021

Two-channel video

7 minutes and 46 seconds

 

Katie Stackhouse

Song Vessel, 2021

Bronze 300 x 133 x 120 cm

 

Performers:

Myfanwy Hunter

Katie Stackhouse

Jane Tyrrell

Luke Whitten aka Ahi, tribal affiliations (Iwi) Ngati Kahungunu and Ngati Porou

 

Credit: Videography and cameras: Alex Sibbison

Edited by Ella Sowinska and Katie Stackhouse

 

This making of this sculpture and the performance took place on Wurundjeri land.

We acknowledge and pay our respect to the ancestors and Elders; past, present and emerging of the Wurundjeri people and the Kulin Nation.

FOUNDRY

 

Monolithic forms
rendered in green microcrystalline sculpting wax

shimmer with stillness on the work bench

I was entranced when I saw the cobalt light of the 3D camera

meet the hand-chiselled limestone sculpture

photographing to a thousandth of a millimetre

collision of futuristic fluorescence and deep time

the catalogue of life in the stone

porous and steadfast under brightness

and now, some weeks later

that image created by the collision has been upscaled on a screen

routed as a pattern

assembled and renovated into wax

in real form again

and I’m working with my hands again

with a fragment of granite, my chosen stone

pressing the crystal edges

to roughen and stonify, the smooth paraffin skin

imprinting

a granite language

part of a mountain into the form

granite meeting petroleum > to meet fire > to meet bronze

here

materiality reigns supreme
there is no avoiding
the elemental forces that make up all life the ephemeral and the immortal

tussle

I hold
a small dear
hand-folded

metal vessel with a handle that had been dipped in

emerald green molten wax

I drip the warm liquid
paint it with a brush
onto my sculpture

tenderly pressing points of granite as it hardens

for the surface to resemble stone

I work with sandpaper and white spirits

noble tools with sharp blades

curved — metal with wooden handles

today the bright foundry

is humming with music

and the bodies of men

I am the only woman

everyone is working — rapt

light ricocheting off

white plaster sculpture moulds

dust

and whitewashed walls

marks of making and rendering

smelting and pouring

solidified into the walls

this building
a giant mouth
speaks invisible stories of artworks made
through teeth

of alloyed objects – welded, polished and patinated

taps covered in wax

We are post lockdown #2

the radio is a fountain of commentary

on democracy; its threats, its strengths

sounds of election scrutiny

floating high

in the air above as we work

I carefully render the corner

of a moulded wax stone with a rasp

I imagine the weight

of that rocky Pnyx Hill
where western democracy

was founded

Those stones which observed demos, ‘the people’

and kratos, ‘power’

could such a mass anchor?
demokratia

so that it could not float up and off

— an aloof ideal

lost to the world

where is this mooring now?

I think about love

and my daughter

who I will soon feed milk from my breasts

and of the ephemeral

and the non-ephemeral

responsibility and weight

of the imprint

of the marks I make today

that will outlive my own life

will the climate still have us?

in my mind’s eye I see

the site for this sculpture

near the ocean — bronze vessel

— open translator

between the
clouds and the ground