doubt systems, 2019

inkjet print of tobacco flower on transparency, aluminium;
warped steel bolts collected from building sites — sliced, forged and nickel-plated into irregular discs — mounted on invisible magnets embedded in the wall;
repaired vending machine, sandblasted cans, dollar bills;

cast concrete slabs, water (one underneath vending machine);

cast concrete stack with cuts

 

Isabel Mallet - \  \,'`._,'`./  /Isabel Mallet - \  \,'`._,'`./  /Isabel Mallet - \  \,'`._,'`./  /Isabel Mallet - \  \,'`._,'`./  /Isabel Mallet - \  \,'`._,'`./  /Isabel Mallet - \  \,'`._,'`./  /Isabel Mallet - \  \,'`._,'`./  /Isabel Mallet - \  \,'`._,'`./  /Isabel Mallet - \  \,'`._,'`./  /Isabel Mallet - \  \,'`._,'`./  /

resisting the centre, 2019

cast concrete with cuts, polished steel plates
nineteen borrowed stage risers, one re-made stage riser
cast concrete pieces (by door)
all bulbs removed from overhead lighting track apart from one nearest the door

Isabel Mallet - \  \  \     /  /  /Isabel Mallet - \  \  \     /  /  /Isabel Mallet - \  \  \     /  /  /Isabel Mallet - \  \  \     /  /  /

LUCID COLLAPSE 1, 2018

“If you send me your address, will send you some words in black-powder-fused-to-cellulose-pulp form aka lucid collapse 1; an experiment in the physical consumption/excretion of (some) language”

Text available on request (to be mailed, provide address and postage cost only).

Isabel Mallet - +__+__+

Lauren Burrow on lucid collapse:

 

“i read these texts like nodes on a continuum of linguistic activism … there’s no one meaning, and i have to produce that meaning for myself. rhythm is important – more important than linearity or chronology – embedding the question where does time or text or chronology or self ever really begin and end, decaying in the rocks and the earth as much as in the wires in silicone valley. sculpture wearing the clothes of literature and literature cloaked as sculpture”

new cells, new voids, 2018

hollow, screen-printed light-boxes containing barn lights in a sensory feedback loop; emergency glow sticks; tropane alkaloid producing solanum images in floor cavity c/o Dr. Sandra KnappIsabel Mallet - _/\__/\__0>

Isabel Mallet - _/\__/\__0>Isabel Mallet - _/\__/\__0>Isabel Mallet - _/\__/\__0>Isabel Mallet - _/\__/\__0>Isabel Mallet - _/\__/\__0>Isabel Mallet - _/\__/\__0>Isabel Mallet - _/\__/\__0>Isabel Mallet - _/\__/\__0>

 

Collaborative show with Sophie Lee at zona mista, London 2018

ROUGH MAGIC

in the sound of demolition, buildings becoming walls becoming bricks becoming aggregate becoming dust, ash of the burned, spurned, discounted, reformed, cast into the new void that is

arkhe-tekt-ure

40N concrete, rainwater, absent ceiling tiles (cavity space), borrowed clothes

Isabel Mallet - \_______/Isabel Mallet - \_______/Isabel Mallet - \_______/Isabel Mallet - \_______/

coming up

the origin of the house in the basket, the origin of the basket in the web, building in darkness, instinctive dwelling with own bones in filth, cave floors dripping with freon, a thirsty hum, discarded appliances as exhausted bodies, (also) scale models of high rise buildings, continuous cycle of compression and depression, gases cooling warming, pavements drinking sweat, spit, piss, evaporation contained in systems spreads over the earth’s semi-permeable urban membrane, tough like 40N. For railways, manholes, footings, foundations, fingerprints from the other side, earth stretched out inhuman rendered,

acoustic crescendo from initial hollow, slow rhythm reflecting,

geological chirping            barking/woof/howl

coming down

gurgle

                 gurgle

        gurglegurglegurglegurglegurglegurglegurgle

gurglegurglegurglegurglegurglegurglegurgle

discarded fridges, contact microphones, mixing desk, harmoniser pedal, PA system

 

Isabel Mallet - \_______/

Isabel Mallet - \_______/

Isabel Mallet - \_______/

Atropa Belladonna as the Medean flower, the hag, crazed magician (re)producing poisonous berries, murderous pregnancies, swollen black bellies to burst in wet mouths reflecting light back into dimness, rubbing on thighs to fly nocturnal on sticks, darkness rippling along- side visions. Shadows as the space of illumina- tion, the archeology of architecture revealed as the removal of bodies, sexuality, knowledge, labour, the tomb that is the house that is possessed by the silenced screams of the heretic,

continued
gurgling,

cracking

clicking tick-tock, click, click, click       click

          popping
buzzing buzz buzz buzzing snapping

 

clicking
hissing sizzling buzzing arching rattling

zzzzz zzzzzzz ssssss ssssssssssssssss

mmmmmmmmmmmmmmmmmmmmmmmm mmmmmmmmmmmmmmmmmmmmmmmm mmmmmmmmmmmmmmmmmmmmmmmm

The substratum that is the gregorian drone, flesh of the unheard word, lingua ignota as the permission to overflow, flesh listening in- solitude slowly whispering solidarity, amidst the chastity of rotten air wafting from plague pits, words finally extrude under the spells of sickness, breaking silence with visions, blasted through cortical pulsing, her loss of self as universality opposing her interiority as affirmation of thisness and and the inevitable oscillation between these two states looping, spiralling fractals, resonating, tripping, pulsing

Isabel Mallet - \_______/

 

Isabel Mallet - \_______/

 

Isabel Mallet - \_______/

All images © Ollie Hammick 2018

As part of A breath cast in yr reflection, Abbotsford Convent, Melbourne 2017

You’re designing a house, for a dancer, a night-time dancer, who you visit, or otherwise visits you, on the cusp of each witching hour.

An everyday obsession, they’re someone who swims, their body sculpted by the pool. In this house, will it pay to pay attention?

How many windows in the walls of this pool? How will you accommodate the eyes, craft the gaze, lessen the labour of your pleasure?

Thin like air, absolute like gravity, or apparently radiating.

You might not know the dancer, nor whether something is toxic or not, and anyway it’s just a diagram, but well furnished.

The surface of any pond you look into is slowly evaporating;

there is a possibility that you might be breathing in the material which generated your image.

Dispersal of a Subterranean Centre (with Lauren Burrow)
digging, 30 minute audio loop

Cigarette Spirit Levels (with Lauren Burrow)
rainwater from ashtrays, acrylic, silicone

 

Isabel Mallet - `.,-'\_____/`-.,'Isabel Mallet - `.,-'\_____/`-.,'Isabel Mallet - `.,-'\_____/`-.,'Isabel Mallet - `.,-'\_____/`-.,'

Images by Rudi Williams

As part of No Place to Spit  at SET Alscot road, London 2017

Possessing a Coin to Find Its Use
flattened hex bolts

Isabel Mallet - /`..'\ _ /`.,'\Isabel Mallet - /`..'\ _ /`.,'\Isabel Mallet - /`..'\ _ /`.,'\Isabel Mallet - /`..'\ _ /`.,'\

As part of Summer 2016 To Summer 2017, Arch 1138, Bath Factory Estate, London 2017

Crash (listening for more listening)
polystyrene packaging, screen lying on its back, scrolling text

Isabel Mallet - /  /`.,' `.,'\  \Isabel Mallet - /  /`.,' `.,'\  \

Text first published online as part of DRAB, summer 2017, Bard College.
Original link: https://draaaab.tumblr.com/artists/isabelmallet

Isabel Mallet - /\  .-'.'.'.'-.  /\

floorplan

two-to-the-power-of-two-to-the-power-of-one-plus-one

Confined to this building, we scan the ground for openings, finding five.

Five circular panels of stainless steel about the size of a handspan, each engraved with ten concentric circles.

Five digits one side. Ten Digits as a whole.

Two parts mixing in my two hands, kneading, working until consistency allows pushing into middle of panel, fingers flatten mixture print by print, filling one groove at a time until spread over the whole panel, covering it’s own fingerprint with hundreds of ours.

On the floor peeling off the mold, we listen to this perfectly concentric fingerprint that conceals the vessel, the network, the architectural hollow that is in permanent shadow (guts). Put a fingertip on this fingertip. Our ridges move over your ridges: it sounds. Receptor or erogenous zone. Orifice or neuron. Black hole or supernova. Spitting or swallowing. Action potential is above and below but who is receiving what? Whose receptors, whose fingertips? Who’s fingering who? Who’s feeling who?

In each one (of these five elements, phases, agents, movements, processes, planets, receptors, orifices, neurons) there are three screws. We take them out and pop the lid. Concealing the truth is darkness (and cobwebs) but we smell and feel the centre. Each one a vessel, which is really a tube, a network of tubes, not a pot or a hole: a vessel. Five vessels, cores, reaching for the centre, we know because the drill bit melts when we reach eight miles down, but we still have another 3,992 miles to go until we reach thecentre of what?

Dendrochronology is time according to trees, time as a series of concentric tubes. The earth is not flat or tube-like but a flexing spheroid. The eight mile core sample came out and we laid it out, every step another million years. A Correlated History. The annulus is the space in between concentric circles. Annulus, anus, Annus. That’s time. Rings around a hole. Time is space and volume. Steps. The first step reveals scraps of metal and plastic, nothing really, then for the next several millennia bits of broken pottery, a few steps, then finally some soil before the misery of agriculture, some chert flakes, cracked stones from campfires, a few more steps and we’re underwater, then molluscs and brachiopods and echinoderms for lots and lots of steps. After 380 steps we see a spider (?!), we put down a survey pin. But we’ve seen plenty by then. We’re not even an eighth of the the way there. It’s getting hot.

We look at these five core samples, laid next to each other in parallel, imagining an interpolated volume from these five sites (elements, phases, agents, movements, processes, planets, receptors, orifices, neurons) to the centre, what are we seeing, hearing? Grumbling magma. Nearly a straight line, we guess. They are so close relative to the size of earth, at most twenty feet away. Why are they not placed further apart on the Earth? Hm.

[Exploding creates crossing creates splitting creates drilling creates (all this) crushing.]

The number five makes us turn our gaze from the centre – us – to the edge – them. WE SEE. We are seers, like Giordano Bruno on the rooftop smoking, concentricity disappears in a single moment. The volume is becoming something substantial, warped pentagram projecting toward the outer reaches, the distance between the five (sites, tombstones, elements, phases, agents, movements, processes, planets, receptors, orifices, neurons) becomes greater until it reaches the edge of the universe, unspeakable infinity, but here is nowhere; you can’t measure distance at the edge of the universe because it’s not linear, you can’t place a point, only an idea.

So the volume of the five (sites, tombstones, elements, phases, agents, movements, processes, planets, receptors, orifices, neurons) dissolves (thankfully) and we’re left with the place and space they are in now. Polyurethane accumulating in the concentric grooves. Dull blots compared to the infinite space of a page. But they are not dull, and a page is not infinite. It’s a premonition. If you hang around long enough you’ll see.

As part of DRAB, Bard College 2017

Trigonotarbids Are Not True Spiders
LED lights, ventilation cavities

Isabel Mallet - ( (    _-_-_-_- -Isabel Mallet - ( (    _-_-_-_- -Isabel Mallet - ( (    _-_-_-_- -

what Poetry what Space what Language?

Talk given at The Slade School of Fine Art in London 2017

Interrogations into the history of poetry reveal the revolutionary urgency of ‘the scream’ that becomes a metaphor for poetry itself. The urgency of the delivery negates the individual behind the action, authorship gives way to gut feeling. Space and material become authors in the making of work, boundaries are the beginning of presence, not the edge of it. Moving spaces, adjusting poetry, entering language as a physical medium. Rotting down words into gesture, metaphor, intuition. Becoming not-human-at-all. A plasmoid translator: lightning as the Direct Action leaving fulgurites in the sand.

Isabel Mallet - /__/__/     \__\__\__

USING:

AUDRE LORDE – POETRY IS NOT A LUXURY 1985

JIMMIE DURHAM – A FRIEND OF MINE SAID THAT ART IS A EUROPEAN INVENTION 1994

BARNETT NEWMAN – THE FIRST MAN WAS AN ARTIST 1947

FRED MOTEN – IN THE BREAK: THE AESTHETICS OF THE BLACK RADICAL TRADITION 2003

MAX ROACH QUINTET W/ ABBEY LINCOLN – WE INSIST! LIVE 1964

SUICIDE – GHOST RIDER LIVE 1975

MRTIN HEIDEGGER – BUILDING, DWELLING, THINKING 1971

KATHY ACKER – BLOOD AND GUTS IN HIGH SCHOOL 1978

ANARCHAEOLOGY – ANARCHAEOLOGY 2013

URSULA LEGUIN – ALWAYS COMING HOME 1985

THE WHOLE – THE WHOLE 2012

ITALO CALVINO – COSMICOMICS 1964

PHYLLIDA BARLOW – WILLIAM TOWNSEND LECTURE “FOR NO REASON” 2014

ROBERT SMITHSON – SOME VOID THOUGHTS ON MUSEUMS 1967

FORM IV – FORMIV.COM 2014

AMANDA BAGGS – IN MY LANGUAGE 2007

JAYNE CORTEZ – FIND YOUR OWN VOICE 1982

BONNIE CAMPLIN – HILI PERLSON IN CONVERSATION WITH BONNIE CAMPLIN 2011

As part of NIGHT at Horse Hospital, London 2017

Mouth of the Night
concrete, sand, ash, cigarette butts

Isabel Mallet - \  \  \     /  /  /Isabel Mallet - \  \  \     /  /  /Isabel Mallet - \  \  \     /  /  /

Honeymoon at Lima Zulu, London 2017

A God Steps Down From The Mountain, Loneliest Scum
two LCD screens embedded in false sub-floor, plastic sheeting, video files

Isabel Mallet - \  \,'`._,'`./  /Isabel Mallet - \  \,'`._,'`./  /Isabel Mallet - \  \,'`._,'`./  /Isabel Mallet - \  \,'`._,'`./  /Isabel Mallet - \  \,'`._,'`./  /Isabel Mallet - \  \,'`._,'`./  /Isabel Mallet - \  \,'`._,'`./  /Isabel Mallet - \  \,'`._,'`./  /

Photographs by Sanna Charles

As part of AUX at Chalton Gallery, London 2016

Never no problems with the problem stupid video clips
lighting gels, scratched stainless steel sheet, plexiglass

Isabel Mallet - \,'`./___\,'`./Isabel Mallet - \,'`./___\,'`./Isabel Mallet - \,'`./___\,'`./Isabel Mallet - \,'`./___\,'`./

Images by Sanna Charles

As part of AUX at Chalton Gallery, London 2016

Gilfach Ddu Brick 1
c-type print

Gilfach Ddu Brick 2
c-type print

Gilfach Ddu Brick 3
c-type print

Isabel Mallet - ,'`-./_____\,-'`.Isabel Mallet - ,'`-./_____\,-'`.Isabel Mallet - ,'`-./_____\,-'`.

Images by Sanna Charles

As part of EVE, 33, London 2016

Seeing (distributed)
laquer, paint, wood

Isabel Mallet - /       \Isabel Mallet - /       \

As part of Maudlin Ecstasy at Fat Relic, London 2015

Bass Terrain for Maudlin Ecstasy
lighting gels, cardboard corners, concrete

Isabel Mallet - \_______/Isabel Mallet - \_______/Isabel Mallet - \_______/Isabel Mallet - \_______/

As part of Maudlin Ecstasy at Fat Relic, London 2015

Slabs
cast concrete, rubble (aggregate)

Isabel Mallet - `.,-'\_____/`-.,'Isabel Mallet - `.,-'\_____/`-.,'

Included as part of The Interview Issue of Her Eyes & My Voice 2016

Freeing Slyness (with Melanie Counsell)
booklet (risograph printed, inkjet printed, photocopied pages on various paperstock)

Isabel Mallet - /  /`.,' `.,'\  \Isabel Mallet - /  /`.,' `.,'\  \Isabel Mallet - /  /`.,' `.,'\  \Isabel Mallet - /  /`.,' `.,'\  \Isabel Mallet - /  /`.,' `.,'\  \Isabel Mallet - /  /`.,' `.,'\  \

The Stability of the System (with Sasha Litvintseva) 2016

The Stability of the System is an exploration into the material agency of images and of forms and their ability to call each other into being. The film begins with a mathematical point willing itself into dimensional existence, inventing/discovering space, then time. Shot on the volcanic island of Lanzarote, the film’s images are eruptions willed into existence by the creative act of the molten rock. The landscape absorbs all subjectivity, hallucinating itself in the monochrome of endless black lava fields and scorching white of a cloudless sky. In the end the filmmaker dissolves into the landscape, no longer able to see – the landscape sees for her.

Isabel Mallet - /__/__/     \__\__\__

Download the PDF file .

Open Open Studio, Gillett Square Studios, 2015

building-dwelling, thinking-making

Using a heavily edited version of Martin Heidegger’s text ‘Building Dwelling Thinking’ as a starting point to explore the idea of the boundary, not as perimeter, but as ‘that from which something begins its presencing’. This three month-long project started by building a temporary studio on a rooftop – a shelter – in which recycling experiments were conducted using materials that had presented themselves during the construction. The project culminated in an open open studio, a public presentation of evidence of the opening out that begins with a delineation of space, it was like pressing pause on a potentially infinite set of processes that constituted what I felt a studio was: a building-dwelling, making-thinking.

Isabel Mallet - \  \  \     /  /  /Isabel Mallet - \  \  \     /  /  /Isabel Mallet - \  \  \     /  /  /Isabel Mallet - \  \  \     /  /  /Isabel Mallet - \  \  \     /  /  /Isabel Mallet - \  \  \     /  /  /Isabel Mallet - \  \  \     /  /  /Isabel Mallet - \  \  \     /  /  /Isabel Mallet - \  \  \     /  /  /Isabel Mallet - \  \  \     /  /  /Isabel Mallet - \  \  \     /  /  /

AN-ArchaeologY, un-authored, self-published in 2013

E-mail for pdf or       >>BUY AN-ARCHaeologY<<

Isabel Mallet - \,'`./___\,'`./Isabel Mallet - \,'`./___\,'`./Isabel Mallet - \,'`./___\,'`./Isabel Mallet - \,'`./___\,'`./Isabel Mallet - \,'`./___\,'`./

 

 

The wHole, un-authored, self-published in 2012

E-mail for availability or see: THE WhOLE PDF

Isabel Mallet - ,'`-./_____\,-'`.Isabel Mallet - ,'`-./_____\,-'`.Isabel Mallet - ,'`-./_____\,-'`.Isabel Mallet - ,'`-./_____\,-'`.Isabel Mallet - ,'`-./_____\,-'`.

Slade School of Fine Art, London 2012

Shelter

Isabel Mallet - /       \Isabel Mallet - /       \Isabel Mallet - /       \Isabel Mallet - /       \Isabel Mallet - /       \Isabel Mallet - /       \Isabel Mallet - /       \Isabel Mallet - /       \Isabel Mallet - /       \