Scottish Arts Council - Archive

Scottish artist John Shankie recently undertook a nine-month Scottish Arts Council New York residency, responding to the thrill of urban environment by creating both new visual and written works.

Shankie has been spending time drawing on the resources of the city's important libraries, museums and galleries as well as drawing on the city’s history as the centre of the US rag trade, by commissioning embroidery from the city’s skilled garment makers.

Shankie says, 'Despite having been here before I still find myself slack-jawed with amazement - which works wonders for my appearance. I'm learning the art of working in this city, getting to know the people and places of dreams.'

Shankie, who is known for poetic book works, installation and video that explore the poignancy of modern life, was educated at Glasgow School of Art, where he also taught for many years. He has exhibited widely in the UK and Europe and recently undertook a residency at Cove Park.

The Past: 5 December 2006

The Scottish Arts Council is delighted to publish, for the first time, a new piece of John Shankie's writing entitled 'The Past: 5 December 2006'.

The Past: 5 December 2006

Pen

L.I.R.R

RONKONKOMA

Such a great name. Names with k's. Streets and streets. Millions of people and places. Bright-bright-east-coast-light go the wheels. A car moves off. Blinds in a window. A yellow line on the road. A white washed wall at a corner. A lattice panel in a garden. Darkness in a tunnel. A yellow carrier bag in a tree. A back alleyway. Brevoort Street. Seven floors. Cuthbert Road. Donnell Auto Repair. Change at Jamaica. Bunting over a car sales lot. BP Connect. Teresa in Glasgow. Gossip magazine read by a girl at the station, headline reads "Kevin Created". A bell rings, the doors close. "Casey Jones a steamin' and a rollin', Casey Jones you never have to guess, When you hear the tootin' of the whistle, It's Casey at the throttle of the Cannonball Express". PEP boys. Twenty minutes to go, twenty-five gone. A conductor's right hand indicates and, having indicated, withdraws. The doors close and the world moves.
"I'm thirty-six"
"I got your letter in sixth grade"
"around ten minutes"
"also possible to fall upstairs"
"maybe when I get off"
"well I don't know what time"
"it just worries me"
"eleven thirty-six girl"
"thank you sir"
"in the next ten. Ten, yeah"
"I know where in the world I am"
Belmont Racetrack. My pen dries up. Someone else's reflection. MINEOLA. A young boy and his bike. Cold outside. Multi-storey car park cold. Stirling Thistle, Christmas 1997. Ten years. History in the ground. Five minutes to go.
Bedding. Someone has dropped their hat.
Return.
My hands shake due to the weight of my bag. Penance for comfort.
A bright red Kenworth articulated truck and trailer.
The future.
A rural place.
A black sign printed in bright orange.
VISITOR ACCESS TO VIEWING THE JIMMY CADDLE WORK WILL ONLY OCCUR ON SATISFACTORY COMPLETION OF THE DISCLAIMER BY THE VISITOR. MINIMUM AGE 12 YEARS.
A wooden building. The engine, removed from a Kenworth, is on a jig inside the building. The building has a strong floor of wooden railway sleepers which are treated with creosote oil exuding a distinct but not unpleasant odour. The dimensions of the building place the visitor in close proximity to the engine. There are no guard screens or panels. The engine is fuelled & cooled from, and exhausted to, the outside. Inside, the engine is started and stopped from a panel mounted on the wall near the door. There are no ear defenders. There is no internal invigilation Visitors fearful of the noise wear audio listening devices, containing a high definition, five minute, recording of the engine set at loud volume.
The present. Approaching Jamaica. A building fit for the words "There Will Be No Miracles Here". Scribbles. I read the word "Bellerose" and I whisper to myself "Rosemount". Two water towers. A sketch of a spiral stair. Shankmeister. Key plate. Blank nut. Carrot pin. All my longings. I have all my belongings.

Penn.

The New York Residency, founded in 2004 is an opportunity to spend time researching and developing new work, in the exciting atmosphere of a city regarded as the global centre of contemporary visual arts.