Insoulitude

I  ·  The Opening

A practice held
between the arts.

Photography, writing, music and a long-running inquiry into how things mean what they mean. Five rooms, one attention.

Est. MMXVIII  ·  Working notes & finished things

A pale ceramic vessel photographed against bone-coloured light.
Fig. i — Vessel, unglazed. Held light.

II  ·  Photography & Fine Art

Things found standing still.

A single river stone lit from the side, resting on sand.
01 — River stone. Silt & morning.
A pale bloom on a long stem, dusty pink against warm grey.
02 — Bloom, third day. Study in dusty pink.
Three faint birds marked against an overexposed chalk sky.
03 — Three marks, read as birds.

The photographs are mostly of small things: a stone, a stem, the corner of a room at the hour it becomes worth photographing. I am not interested in spectacle. I am interested in what stays after the spectacle leaves.

Selected plates, 2019 — present. Prints on request.

A low olive landscape under a wide pale sky.
04 — Field, late. Olive & the last white sun.

III  ·  Chapters

Three disciplines, kept in the same notebook.

01

Literature

Short prose, fragments and one long thing that refuses to end. I write toward the sentence that makes the previous ten unnecessary — and then keep all eleven, because the approach was the point.

  • ProseThe Weight of Small Rooms — in progress
  • EssayOn Keeping Things That Have No Use
  • VerseTwelve Poems for an Unlit Kitchen
A page of handwritten lines on handmade paper.
Working page, undated.

02

Ideational Inquiry

The philosophical thread. Questions I return to rather than answer: what attention is for, why certain objects hold a room, and whether meaning is made or merely noticed. Published here as slow, unhurried notes.

  • NoteAttention as a Form of Care
  • NoteThe Object That Organises the Room
  • NoteAgainst the Finished Thought
A bare branch traced against soft sage light.
Branch, studied twice.

03

Music

Quiet recordings — piano, field noise, and whatever the room adds. Made mostly at night, mixed low on purpose. Best heard at the volume of a conversation happening in the next room.

  • AlbumRoom Tone — seven pieces
  • SingleSand, Slowly
  • LiveOne Take, Olive Room
An art object standing in deep olive shadow.
Object in the olive room.

V  ·  The Reading Room

Longer writing, lower light.

“The room did not become quiet. I did.”

From On Keeping Things That Have No Use, 2024

Everything in this room was chosen slowly. That is the only rule. A piece arrives here when it has stopped changing under my hands — which is not the same as being finished, only the same as being still. What follows is the current shelf: essays, long notes and one piece of prose that has been rewritten more times than it deserves.