Due to the seasonal shift of Autumn and Winter, Kuaka is now being held out of the water, until the following seasonal shift back to Spring. The seasonal shift has informed this removal and allows focus to be placed on reflection, maintenance, and development.
Sociological exploration of inclusion and exclusion, the giving of a calling card or not. The gift was the use of Kuaka, I do not own this boat, I am the custodian, the use of this small boat was based on the gifting of use. The calling card highlights this gift, but a calling card speaks to an exclusivity, possibly creating a barrier to the social elements with this already seemingly ‘exclusive’ project. There is a sense of disparity in the use of public space for exclusive means, and sharing in the access of this typically inaccessible space lead to the development of an open invitation, but this was still not public per say, and the use of mass social media and traditional public media were not used. Only notice boards in SGSS and via a Pearce Gallery news letter were initially used to gauge interest. Although exclusive, the calling card allows interest to be gained while not giving too much away.
Exploring elements on the boat to develop, one being the rigging of the boat. What is the work? Ontology of material, and the possibilities of their readings.
(“A hatch would protect against water’s force/ingress” – Noel Ivanoff)
Where does the ‘art’ sit/exist? Is this a proactive social practice? Or is that a part of this project, a ebb and flow of inclusive and exclusive moments, like the tide. The notion of relational is discussed, but relational to what, only on a social level? Critique of this approach, where interpersonal relation is placed within a hierarchy of relation, there is projection of what can be relational, the calling card is relational, the sharing of the boat is relational, but not only in a social capacity, but also in a physical/material or temporal way, mereologically.
A part is ‘missing.’ 
The necessity of a hatch cover is apparent when sailing and water begins to splash into the open hatch, effecting the efficiency of the battery. 
Battery compositions, closed circuit. 
There is no flow of current, the battery is still inert.
There is an unseen narrative developing within this project, unseen moments of flux. Shifts and changes seen and then invisible to the eye as they unfold in a cyclic manner over time. The captured moment seems separate but chronologically visible. The inert nature of a moment is only part of a whole. The battery holds potential energy, currently inert, but able to engage that potential.
The narrative of this project frames relation within material parameter, and the potential in captured energy.
How do you capture energy? During the favourable seasons, the sail captures the energy of the wind.
Counter weight / ballast with electic motor on studio chair. 
Capturing sunlight and converting it into wind. 
Capturing sunlight and converting it into light to light back of PV array. 
Variations in structure and material considerations. Within this context, the installation of parts converts sun light into a usable energy. eg: wind, wind that aids in the drying process of the paint on each hatch. 
Sun light to wind etc. – A transformative shift, conversion composition.
Like wind in Spring, Summer, or Autumn, the suns energy is a ready available gift, it is an all encompassing shared phenomenon, the sun is used to power the battery, which is then used to power the auxiliary motor that aids in the development / movement forward, while allowing the current focus to be spent on maintaining and developing the boats structure.
Like wind captured by the sails during Spring, Summer, and Autumn, the suns energy is a ready available gift, it is an all encompassing shared phenomenon.
In the cyclic flux there are variables, the chronological linear has its own shifts. The following has been edited out of the developing statement:
“Heraclitus, you know, says that everything moves on and that nothing is at rest; and, comparing existing things to the flow of a river, he says that you could not step into the same river twice”(Cratylus 402A)(1). This is described by the ‘Ship of Theseus Paradox,’ a thought experiment that applies the Mereological Theory of Identity(2).
These ideas are present with in the text and stating the ‘quote’ becomes unnecessary, to the extent it is repetitive in the format of a published statement (wall text).
There is a potential avenues of development if unpacking my works and own ideas of iteration, process, production in relation to notions of mereology.
(1) Ross, S.D. Metaphysical Aporia and Philosophical Heresy, 1989, SUNY Press, New York. 13
(2) Cohen, S.M. Identity, Persistence, and the Ship of Theseus, https://faculty.washington.edu/smcohen/320/theseus.html (Accessed 25-6-19.)
jonathan alexander kennedy 
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