Banksy’s Colonic.
In the days of the comet;
Here the comet alludes to the measuring of time
to historical recurrence, and to parallel worlds.
We were looking for an equality of cultural prejudice.
You black people come, sit and we’ll sing together,
about how difficult it is.
Together, from a new vantage point on the hill
a sort of homogenous particle accelerator.
Comets are also commonly understood
to be harbingers of change,and fittingly it will evolve
like an orchid root binded
to the branch of a tree,cleaving.
this work presents a parallel universe,
after philosophical truth in a country where
this is elusive, if it exists at all.
the texts suggest that reality
is an ever-changing concept
constantly revised and corrected
waiting for words to dry
from a bi-polar ink-cartridge.
prioritising material experience over language
as a way of learning and understanding.
Let us all listen to the leader,our leader
In the name of God I would like to salute the people.
The performance is concerned with subtle interventions
in time and space,silence waiting
and paying attention
to the present moment.
I never know what’s going to happen
where visible objects with a secret depth
appear to reveal a kind of irrational truth.
We led the liberation to free the people
we will put two fingers in the eyes
of the defiers, for the people.
She was presented as a martyr,
victim and troublemaker
they championed and villified her.
Making dreams of energy come true
with discussions about harnessing
non-commercial energy in art
to the creation of history through culture.
But who’s manipulating who here
those accidental drips of paint, in the studio.
How we laughed,knowing we’d paid good money
to see tin foil on the gallery floor.
Today’s experience economy, in which shopping
is no longer just about buying things
but a whole retail experience.
Oh, the leisure sphere.
When you want to control the protest
what do you do? The state has a responsibility no.
The word ‘supplicant’ goes
back to the meaning of someone
who prays on your behalf;
a petitioner, a substitute
a stand-in, for something else.
Micro-sounds,such as a discarded lighter,
whose electro-magnetic spring, amplified
by contact microphones, produces harmonic
overtones. Ah,the aethestics of persuasion.
I liked the idea of a bunch of guys
sitting round a table
pondering these issues in a corporate environment.
Investigating alchemical and metaphysical
transformations of ideas
actions and materials, involving elements
of surprise and risk.
a kind of professional tomb.
a four sided conversation
about a new way of making theatre.
Watching, we inhabit two-worlds
that of fiction,that of fact.
Their union is curiously provocative
suggesting the cultural value of all iconic artefacts
as things gathered along the corridors of history
they speak of lost crafts and excavations
of memory, using rhythm and repitition
layering,juxtaposition,inversion,elaboration
stresses and pauses
made with a left-wing Californian think-tank
on the subject of political rhetoric.
A device for crowd control,
the narrow structures through which
cattle are led to the slaughter in abbatoirs.
We are the richest poor people in the world
We have these pieces of art to tell us so.
(4th revision)
Peter Handley
Peter Handley was born in a small village next to what was Sherwood Forest in the first decade at the beginning of the end of the age of Aquarius. He has been variously described as an arty farty twat and an Indian Oscar award winning actor and writer. He is published in numerous literary journals, trained, amongst other places, at Bristol Old Vic Theatre School and continues to tell stories and bullshit in all the right hostelries to promote positive growth all around the world and in his back garden. His first solo exhibition of works on paper is due out in a fancy gallery in Vienna late 2014.
