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Andrew Kötting
'It's in the most unlikely places you're likely to find things.' (from Gallivant Pilot)

Kötting's underpinning approach to place is a psycho-geographical one; this being the layered reading of territories, urban and other, via signs of all kinds and without prejudice as to the source or status of the prompt. This being the eyes and all senses of a conscious drift through space, time, architecture, experience, history, the latent future. This being not really landscape at all, but more of Manley Hopkins' inscape, consciousness as it might look if it were dimensioned (and therefore film...), with JG Ballard's correlation between interior crisis and a topography of the disturbance made active.

A child of Pan, Arcadian genius loci, Kötting draws on a profound affinity with the anarchic tendencies of the medieval Cathars from his beloved Pyrenees to challenge pretty Pastoral notions with a streak of debauched fertility and the wildness of outlaw woodland. The non-metropolitan areas are, for Kötting, primal provinces of rough music, psychic branding, brooding behaviour and sinister lanes, of bloodletting even.

Crucial to his approach here is the deployment of scale shifts. From Lek's hobby-stride into the great elsewhere in This Filthy Earth, or Eden's signing in Gallivant immensity, to the interior cosmologies of Mapping Perception, the inflated attitudes of the digital micro-organisms in Kingdom Protista('in every gesture, every glance, it's shouting out, ''look at me, look at me, I'm alive') and the anal/armpit/vulva-scapes of Fleshfilm, scale shifts, accompanied by similar strategies in sound, are essential components of the vision. The spectrum of sensual awareness that acknowledges continuous flux from macro to micro is seen as simply being the case of things. It is less an aesthetic choice (while being one) than an accurate response to things on the ground. It's in the nature of his attention to the world.

Still from Gallivant by Andrew Kötting, 1996
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