10/12/2023
Floyd
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Floyd
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Following Ophelia
Ophelia. Is it true. Like dust, drops of water moved, almost silently, like flying autumn leaves, up from your bed in the river. Ground from pepper your bitter tears, dried to frost in the morning. Your eyes struck nut-brown roots through the tart herb of spent blossoms in the foliage on the bloated barks. I cannot find your body. I follow the clammy mists over freezing lichens and crunching verdigris, the delicate meandering wet streaks in the dew on the earthy soils, the pearly branches stirring in the distance, at the bottom of a lake. The rest is silence.
**
Folie À Plusieurs sees itself as an olfactory recording device that stores and reflects the thoughts, work and experiences of artists. "Lake Bottom" is Mark Buxton's olfactory reflection of the photo series of the same name by artists Prue Stent and Honey Long from the Olfactive Journal of 2020 from the same house. Pictured there, for instance, is a naked body in green mud, beads on skin, structures of water, earth, plants, and wood at the bottom of an empty lake.
Buxton addresses the subject in his typical way, transparent, almost mist-like, he hints at the scenery, at first light green, tart, fresh, damp-rooty-herbaceous (cypriol, artemisia, arnica) with slightly peppery (violet leaf) and spicy-leafy notes (galbanum) before the vetiver becomes more pronounced, nutty, earthy and woody-mulchy. The oak is rather bright and freshly cut, in small two-toned shavings it rather rarely stands out among the earthy, damp mosses and almost minty-bright patchouli of the base. Incense and musk act like dewy veils, in which the molecules float quietly with due distance for thoughtful voids, and after a good six hours increasingly silent.
(With thanks to Marieposa)
**
Folie À Plusieurs sees itself as an olfactory recording device that stores and reflects the thoughts, work and experiences of artists. "Lake Bottom" is Mark Buxton's olfactory reflection of the photo series of the same name by artists Prue Stent and Honey Long from the Olfactive Journal of 2020 from the same house. Pictured there, for instance, is a naked body in green mud, beads on skin, structures of water, earth, plants, and wood at the bottom of an empty lake.
Buxton addresses the subject in his typical way, transparent, almost mist-like, he hints at the scenery, at first light green, tart, fresh, damp-rooty-herbaceous (cypriol, artemisia, arnica) with slightly peppery (violet leaf) and spicy-leafy notes (galbanum) before the vetiver becomes more pronounced, nutty, earthy and woody-mulchy. The oak is rather bright and freshly cut, in small two-toned shavings it rather rarely stands out among the earthy, damp mosses and almost minty-bright patchouli of the base. Incense and musk act like dewy veils, in which the molecules float quietly with due distance for thoughtful voids, and after a good six hours increasingly silent.
(With thanks to Marieposa)
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