Block Works

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Block Works is the latest concept based practice from Alison Little: comprising of a series of sculptural forms which represent areas of urban residence. An ethnology process where collections of discarded objects are cemented together in block form. The artifacts are selected and encased in the common urban material offering an explanation of those who occupy the city space, their lifestyles and methods human existence.

Everton Block Works engages our attention with the towering form of the engine suspension system, reflecting the second-hand car culture commonplace within the area. Several narcotics smoking devices emerge from the upper surface, indicating drug use within the external environment. Homelessness or the misguided pursuits accountable as youth culture. Contrasted by the healthy activities of dog walking, shown by a lead and enhanced by an exercise equipment suspension spring. An adjacent feather shows the ever present urban pigeon, commonplace within cities globally. The top surface encases a heavy industrial ring, accompanied by screw findings, rope matter throughout the form. Manual work being common with local inhabitants. Child’s playthings are present, but items from £1 stores from lower-income families. The edges of the block are lined by food consumer packaging waste: crisp packets, fizzy and alcoholic drinks cans. A suburb where the unhealthy diet is prominent and drink alcohol a persistent activity. The greens and grays of the blocks finish reflect the mix of residential and urban green space which dominates the Everton area.

The top section of Anfield Block Works is entangled by the dynamics of a discarded cable. Other electric wastes reflect a culture where the inhabitants are happy to discard debris freely. An array of drinks top illustrates further examples of poor diet, however, an exercise water bottle top suggests healthy activities. This is joined by a dog toy and tennis ball, positive pursuits within a leisure space. Again, a pigeon feather evidence of urban wildlife. Examples of gambling additions within the district can be drawn from the miniature blue pen of the bookies. Wire wool, cable systems and sponge matter indicating manual tasks occurring within the outdoor spectrum. The Liverpool football stadium ‘Anfield’ being a central hub of the district. The inflatables from match-days, the drinks straws from spectators present in the block formed in the shadows of the Kop. The final colour showing a degraded range of greens and blacks, an urban green space heavily polluted by the traffic of the stadium.

The Block Works Collection with expand across the city and further afield. More collections with be collated, encased and presented as representations of the city and occupants.

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The Eternal I

Brests

Explicit content warning

The Eternal I

I am the all
I am the only
I am an example for others
I am all that matters
I am my ultimate muse

Standing, average size in height. Pleasant facial features, nothing extraordinary, a relatively forgettable portrait shot. Plastered on layers of make-up, a full face, foundation, powder topped up continually. Lip liner, lipstick, where possible drinking through a straw avoiding a devastating smudge.

Hair parted to a standard off centre, cut to a dictated norm of long, slightly below the shoulders. Bleached blond, the only way to be, flaxen supremacy achieved through beautification. Regular root touch up, straightened and set at the salon weekly. Modified, hairbrush heat, a week of keeping dry to ensure the best of my appearance.

Bust enhanced cosmetically, cheap but not in the financial sense. The bigger the better, the instruction given to the consultant. Thousands parted to become a sexual commodity.

Chest ripping through tops cut low, then lower again. The breasts are tools of control, they make her desirable. She plants them in faces, pushing them into vision, projecting them into power. Eyes are drawn into cleavage, manoeuvre to manipulate.

Under the bosom, there is nothing of consequence. Dressed in smart blacks to look slimmer, pulling in the extra few pounds. In conversation, little to say other than on the subject of herself. No real family or friends of sorts, though little of by colleagues, another new partner with her unintentionally. Sex is something she endures, lying back as he penetrates, ejaculating into the rubbish bin of her female form. Vagina a goal, her pleasure of no concern.

I am ego-centric to the core
I am my subject matter
I am an acquisition
I am my cleavage locator
I am my breasts.

I am only my breasts…..

 

‘The Eternal I’ is the latest flash fiction works from Alison Little. Written as a response to the Errant Muse exhibition held at the Victoria Gallery & Museum in Liverpool.

 

More about The Errant Muse

A Void

womb

A Void

In this, I have agreed to what was termed ‘A life modelling process’ for an artist seeking volunteers for a project he is working on. I stand before him in my dressing gown, nude underneath and wondering what he wants me to do, he tells me:

‘Don’t worry, I have done this lots of times before.’

From this, I am somewhat reassured, but still, air a little caution.

‘I just need you to lie down so I can paint you with latex.’

In this he shows me the latex, it’s white and when he paints a little of my arm it feels cold but pleasant on my form. I agree to the process and he helps me untie my dressing gown belt, although naked I feel comfortable in front of him, he has put me at ease.

I lie down under his direction and move into the position he needs me to be in. He starts painting around my neck area, slowly but surely working his way down. He is careful but professional as he covers my breasts, making sure he only touches my nipples with the horse hair bristles of the paint brush.

Working his way further down my body he comes to the groin area. I become nervous again, worrying about what he is about to do.

‘Relax, I have done this many times before.’

I let my muscles fall low, then with warm air, he blows gently inside myself. From this, like magic, I open right up like a great white shark about to launch an attack.

‘That’s right, good, you’re doing well.’

He directs, then he moves onto his back and slides his head and upper body inside my womb. From this, he begins to paint, carefully and professionally, coating the walls of my womb and ovaries in latex. When he has finished he edges out carefully and puts each hand delicately on the inside of my legs. Then without touching me with his lips he sucks air from the inside of myself. I return to my normal size, at ease with everything going on, amazed at what has been performed by this genius.

From this, he works down my legs in a similar motion. He then turns me over to work on my back and lower body. So relaxed with the brush motion I am almost asleep when he finishes:

‘We just need to wait for it to dry.’

He whispers, in this, he picks up an old fashioned guitar and begins to sing folk songs.

He wakes me up to tell me that it’s time to peel the latex off. I stand up for him and he begins stretching off the suited coating, carefully going over my breasts. After my ribs he stops and places a hand on each side of myself, then he kisses my forehead, gently and childlike in motion. As I smile he gets back to action, working the form off down to my lower body.

After a gentle shake, my womb falls out. Before me, I see its squashed in structure, perfect on the inner coating, but de-revelled on the outer. My ovaries flop out almost deformed and entwined, messy and forlorn. Ahead of me, I see the babies, I will never give birth to and the children I will never raise. The bedtime stories I will never read, the play parks I will never go to, the football matches I will never go to and the school plays I will never attend. In this he finishes the removal process, then he shakes out the body-like creation. He clips it onto a line, in this, it stands tall and strong, an independent being, strong, singular, but of great value.

Alison Little

A Void is a flash Fiction works from Alison Little. This piece was first performed in the Hornby Rooms, Central Library, Liverpool for International Women’s Day in 2018. The subsequent year it read for an event marking the same celebrations held during the 209 Women exhibition marking the centenary of women being able to vote in the UK (Although restricted to those over 30 and with property).

The illustration was also created by Alison Little using a bamboo dip stick pen and Indian ink. It feature a close up of a womb and creates an impression of scarring. She is looking to make a sculptural piece from latex later in 2020 to represent the works.

More about 209 Women exhibition, Open Eye Gallery

Donation Station

image with latex body parts copy

Donation Station is a sculptural installation proposal submitted to Dorset County Hospital. The intention of the Illustrate is to encourage organ donation and the chosen piece to be sited by the cardiology department in Dorchester.

 

Donation Station aims to locate a collection of concrete portable organ transplant refrigeration units within the cardiac courtyard. Each unit to feature a name panel being that of a celebrity or person who became famous medically because of an organ transplant procedure. Temporary over-size latex organs to be used for the private view for the installation opening and on occasions when the Hospital and the Cardiac Unit has a higher level of foot fall. The installation will encourage donation directly through the use of celebrity culture, indirectly by simply drawing attention to the need for organs to be donated.

The artist will work with a locally based firm within the Dorset region to create between nine and twenty-one internally re-enforced rough solid cement cast from the use of a portable refrigeration unit suitable for organ transportation. Each unit to measure around 50 x 30 and 50 cm in height, the exact size to be determined at a later date. A red dye to be used within the concrete mixing process to give them a sight pink tonal quality. The rough cement cast will give the units an artistic quality in terms of a raw edge suiting the subject of organ donation and the surgical operating process. The grid-like layout of the units looks to draw attention to the vast amounts of organs donations needed by the NHS on a daily basis. The grid structure to be laid out in three columns, the columns to depict the three people who die in need of an organ donation on a daily basis. The mathematical formation draws attention to the position of the process of donated organs are transported allowing for no error and perfection in timing matters.

Each Unit to show an external shape of the organ which it contains within its structure. The name of a celebrity or medically notable person to be etched onto a brass plaque attached to the front of the structure. The World Cup-winning footballer, George Best to be used against an organ of a liver representing the liver transplant operation which he undertook. In a similar manner, Lou Reed the American rock music legend could be represented. Medical milestones could be shown with a unit dedicated to Louis Wash Kansy the first man to receive a heart transplant. A second plaque to the back of the units would explain further details in regards to who is featured and the nature of the operation. There is also the potential for a unit to contain a brain the be transplanted, for the unit the be unnamed then the ethical considerations raised in more details on the rear plaque. Does the outcome result in the brain or body becoming the person in existence?

The over-size latex organs to be used for the private view for the installation and for occasions when the foot fall to the cardiac unit is higher. Each form to be made from individually moulded organs incorporation colour dyes which relate to the blood present during the operation procedures. Potentially each piece could be filled with water on a base level so as they were unlikely to be affected by environmental conditions such as wind. As they would be hollow internally they would be relatively easy to store in an internal facility. The option of the latex organs to be taken to various events to increase levels of those giving permission for the process has further potential.

Engagement with the installation and the potential to increase the numbers of organ donation works on varies levels. The latex forms have a strong visual impact which would draw attention to the art forms created which would be reflected through the media reaching the public on a greater scale. The dramatic effect of the rubber organs would draw further attention to the art form when used at busy footfall periods. The concrete units to create interest from the platform of the many windows present around the courtyard. The installation can then be engaged with on a secondary level, the plates can be read and the procedures identified with on a higher level. In today celebrity-obsessed culture should lead to greater participation in the organ donation process. The potential to invite debate over the identity of an individual if this procedure was to occur is immense.

The Donation Station is an innovative installation which will engage on an emotional, cultural and ethical level. We identify with lives which could be saved through the process, our passions for the celebrity-obsessed culture of the twenty-first century Britain, but equally to engage the debate over the ethics of the ultimate organ transplant: the brain.

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