ready, able: procession

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The killing was over but the dying continued

The dark and barbarous behavior cast a shadow
Note the heroic proportions of the dead warrior
Note the food (bread and meat) on the table

Behind a hill and to the far right
With a bird on her arm
A dog and a hunter

Confirming the erotic motif
A man stokes the fire beneath the cauldron
Disemboweled beneath the beast

Holding an owl
Holding her box of magic potions
Wearing a fawn skin

The virgin huntress
More a matter of design than of meaning

Old men and women mourn
A conventional gesture of supplication
Gestures in dismay

Three bodies and six legs
(one already dead)
The buds and the birds are probably decorative and no more

The birds have disappeared
From above clouds pour down water to douse the flames
What follows is a survey of the more important scenes

The more romantic scenes
Stands between them and him
With the head of a deer

Holding a mirror
From the Underworld

Gestures up at an overhanging rock
All the figures are named
Inscriptions identify the figures named here

Unrelated to the scene above
A wreath and a whip

Carrying a small tree as a weapon
Surrounded by animals
No attempt is made to fit the punishment to the crime

She bore him
To the underworld
(named but without attributes)

His usual attributes
An animal skin
In spite of his ubiquity

He plays a central role
Herald or messenger
Florals hanging down from the corners

The beginning of the feast before the return
The inscriptions are nonsense words
There is no indication that the men are tied in place

This is a good example of compression of time and space in an archaic narrative scene

The victim is often shown seated
The first letters of the name are inscribed above her head
Carrying a bow and wearing an animal skin

His presence here makes no sense at all
The gesture is ambiguous
In any case, the women dismembered the body

Desire stands on the cliff watching
The conventional gesture of mourning
Mourn the children dead on an alter

The sad face of a beautiful woman
A beautiful figure whose only anomaly is the absence of an eye
The elaborate decoration hints at what we have lost

The three parts
Joined at the shoulders
A colour usually reserved for female flesh

Facing a monster
Of which virtually nothing survives

The remaining parts of the story
(the occasional black-figure)
(according to later sources)

A fish bodied man
(elsewhere named)
They each created their own visions of the monster

A young man sits on the rocks and records the words
In a cave to the left
The identity of the women is unclear

Carrying a large rock, wrapped as a child
They floated into the sea
A parallel scene

Six out of ten figures survive
Each element of the depiction must be examined
Only to see her vanish

—My Name Is Scot

My Name Is Scot, and I am interested in notions of power, agency, authenticity and ambivalence as well as the spaces, shapes and sensations generated within systems of language and culture. To conduct my investigations, I search out and modify text and objects, construct public and private environments, manufacture images, create hybrid personas and intervene in readymade situations. My work has included large scale installations, book works, video, site-specific interventions, drawing, photography and performance. Lately, I’ve been exploring the boundaries between our experience with the actual and our engagement with the virtual. I’ve exhibited across Canada and internationally including shows, screenings and performances in Europe, Asia, the Middle East, the United States and Latin America. My texts have been published in Front Magazine, The Capilano Review and danDelion.

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