indeterminate duration

Main Article Content

Issue Vol. 1 No. 2 (2018)
Published Jul 30, 2018
Section Articles
Article downloads 513
Submitted : May 14, 2018 | Accepted : Jul 19, 2018

James Carey


Interiority, in relation to my practice, is the inherent curiosity to the notions of process, time and duration. It is a practice of mark making, marking time, making time, and time making; foregrounding duration and marking an occurrence. My technique is one of working responsively to interiors, allowing particular temporal conditions to surface within specific sites and situations. The marks – whether they be on a canvas, a house, a building, or within a gallery – materialise immateriality and allow the residue of particular processes to be assembled as collections of materialised and spatialised time. This paper discusses an artist residency undertaken in Detroit, USA 2017. Informed by existing watermarks, stains and rust encountered within abandoned spaces in Detroit, I initially responded by using found materials such as charcoal and ash from burnt houses, plant materials and liquids, to assemble process-based compositions on canvas. Further temporal interventions were then assembled in a number of situations within Detroit. This paper, and practice, notions that interiority is a field of interiors where the indeterminate is celebrated through the force of duration; immersion in time as flow. The temporal, material and immaterial are considered as a dynamic and confluence of forces; assembled in time, materialising immateriality.

Keywords: duration, time, process, material, immaterial

Article Details

How to Cite
Carey, J. (2018). indeterminate duration. Interiority, 1(2), 185–202.
Author Biography

James Carey, RMIT University, Melbourne, Australia

James Carey is an artist and lecturer in the School of Architecture and Urban Design, RMIT University. He recently completed a PhD by Project at RMIT University, undertook an artist residency in Detroit, USA and has exhibited extensively in Melbourne and Sydney. James will be exhibiting as part of interruptions, Stockroom, Kyneton 2018, drawing strength, Barn Gallery Monsalvat 2018 and the Castlemaine State Festival 2019. 


Attiwill, S. (2017). [for james]. In J. Carey, indeterminate duration [Exhibition catalogue]. Exhibited at Neon Parlour, Melbourne, 2017.

Attiwill, S. (2015). Techniques: “to think as doing.” Making Research, Researching Making. Arkitektskolen Aarhus, 10-12 September 2015.

Deleuze, G. (1991). Bergsonism (H. Tomlinson & B. Habberjam, Trans.). New York: Zone Books.

Deleuze, G. (1995). Negotiations 1972-1990 (M. Joughin, Trans.). New York: Columbia University Press.

Grosz, E. (2005). Bergson, Deleuze and the becoming of unbecoming. Parallax, 11(2), 4-13.

Flags of the World (n.d.). Hamtramck, Michigan (U.S.). Retrieved from

O’Sullivan, S. (2008). The production of the new and the care of the self. In O’Sullivan, S and Zepke, S (Ed.), Deleuze, Guattari and the production of the new (pp. 91-103). London: Continuum.

Pont, A. (2017). Philosophising practice. In S. Attiwill, T. Bird, A. Eckersley, A. Pont, J. Roffe, and P. Rothfield (Eds.), Practising with Deleuze: Design, Dance, Art, Writing, Philosophy. Edinburgh: Edinburgh University Press.

Stagoll, C. (2005). Duration (Durée). In A. Parr (Ed.), The Deleuze Dictionary. Edinburgh: Edinburgh University Press.