tired and tempted

A life is coming to an end. The trials and pains have sculptured something beautiful, a briliant moment, from which to fade. Grit and grime portray each line and our understanding of force will explain the apparent. Life is a beautifully dirty thing.

Open case

Slowly this project which started with a small hut I found in a Danish habour (post- 'contained infinity') grows and reflects the dependence we have on the 'box'. These 8 corners help and torment and captivate the possible.


Brandenburg 2011. contained infinity. Nr.3 (phase.1)

the after before

It could be said that an english man knows not the art of queue jumping but then again anybody who has lived in london over a couple of years, or for that matter a couple of weeks during the grey, wet months of the year learns quick the art of getting that last place on the bus! So in the same tradition I post the following image. A series I had begun in the last 3 months from which I intended to use one of the images for the -wald- exhibition, I now post pre-thursday's opening. The series has the working title of – can't see the marks for the method –  a small jibe at what seems so often a world full to choking with images that are nothing more than what they are, only images papering over the cracks in the very wall they hang off. Is that so bad, maybe not, but for me this is too sweet and too much sugared coating leaves you feeling sick. It seems we are fasinated in the methods and machines by which we create things to the exclusion of considering why we made them.


Can't see the marks for the method. Nr.3.  2011. andy rumball

detail – Can't see the marks for the method. Nr.3

Picking up shadows

It's funny how sometimes what lies in the shadow of what is most forefront in your mind provides the answers you seek. So it was when asked if I had anything which might fit the theme -Wald. I had in mind, or rather I have at the forefront of my mind a series entitled 'can't see the marks for the method', but this proved not to be, for various reasons the answer needed. But this project has cast a long shadow and in its wake was the below piece from a few years back which proved to suit the vision of others.


daybyday. 2001. (silver gelatin baryta print 50,5x60,5cm)

Crowded house

It's not often that I would check the weather forecast for when there is an exhibition opening that is indoors, in a gallery. But a week thursday, at 19:00Uhr, 24th November is such an opening. I think it's fair to say I am but one of many contributing work to a group show at the galerie Pavlov's Dog, Bergstr. 19, Berlin under the theme -WALD-. For those who manage to get through the door that evening it should be a truly image filled experience and worth risking colder temperatures or god forbid rain.

Giving Notice

I had visitors today, they came to write a small article about my home with it's personal touches, furniture which has suffered my hand in their making and glance over the general chaos. They came, they went and inbetween they photographed and wrote notes. Afterwards, as I settled down to tackle the tasks of the day and glanced around, I wondered what people would read into the lines and colours, piles and paraphernalia which litter my life. Could you read between the lines, make associations and hear the voice of me in the silent voids. I can't answer that, but to see a void is to have a broader view, above and beyond the void itself. In a way to see this is to see the core principle beyond style or taste, it is to see the humanity in the evidence of the actions. Sometimes you don't need the details, sometimes it's just enough to see the trails and not the very action itself to embrace the energy, life and consequences.

I think this is partly why I loved the lamp-posts I found in Montreal with only the staples remaining from the many many notices detailing the passions of a city.