Marker


Two Works
Martin Jackson



1. A Man Asleep 
    on a Canvas

     Given its location and size, its top-floor balcony and views of the City, its state of repair and lack of essential plumbing features, the original floorboards, the nearby bars and restaurants—including the area’s first Michelin star less than 600 metres away—the property would normally be on the market for £865,000. The listed price, together with the artwork, is £995,000. The inclusion of the artwork is non-negotiable. (The artist is to receive a portion of the money, but is aware that his work on the piece is also being slated against his not having been able to manage the rent for some months.)           

It is 8am and the agent is tired. Physically so, but also with showing people only this one flat. Since the listing was made public six days ago, appointments have been solidly booked from 8am through to 8pm, with only a handful of semi-serious offers resulting. Before we enter, she tells this morning’s group, I must warn you that the current tenant is present in the property. He will most likely be on the bed itself, he works on his other projects at night. Yes, he knows we’re coming. No, you cannot talk to him. He’ll most likely be asleep. Yes, we can talk while we’re up there. Follow me, please.

As you can see the flat is wonderfully spacious, and the light, once those skylights are cleaned up, will be spectacular—but they look, these viewers, only at the artist, the shape of him: that barely breathing bulk and wrinkle of his form under the blue-covered duvet. She has spoken with him, the agent with the artist, only once. Two days ago, he was sat upright on the canvas when she came in to check on the place before admitting the first viewings. They spoke, as he dressed, about the work. He showed it to her and, despite herself, the agent saw that it would be very good. That it already was, with just less than a month still to go. You could see shapes already, body parts. He slept naked, showered rarely.

The canvas, the artist told her, is 10-ounce cotton duck canvas that I stretched with canvas pliers to this queen-sized-bed size. It’s an original structure that I designed to be as comfortable as possible. I fixed it using a Tacwise Z1-53 staple gun with 8mm staples. It’s then primed three times with Jackson’s acrylic primer, and I sand after each coat—the artist had sat back down on the canvas to put his socks on, seemed to invite the agent to sit alongside him, which she refused to do simply by not doing—though I needed to keep it relatively raw. Absorbent, if you like. It would have been a joy to paint on, this canvas.

And to sleep on? she asked. The artist smiled as he put on his paint-crusted trainers, walked past the agent and out of the door. He didn’t return that entire day, to the disappointment of that day’s viewers, disappointment tempered when the agent explained that they were the first potential buyers—she may have over-emphasised that known non-truth—to see the work in progress.



A version of this story was exhibited as part of the Unreal Estates project, curated by Amanda Lwin and funded by Arts Council England.







Martin Jackson is a writer and artist based in Berlin. His 2013-14 project as “writer-in-residence” of Google Maps was featured in 3:AM Magazine, Frieze and Dazed & Confused, and ended with a solo exhibition in London. Since 2017 he has been working on a collection of poetry written and collectively edited in Google Docs (funded by the International Literature Showcase): www.tutorials.fyi. Poems from the project are being translated into art installations by Miami-based artist GeoVanna Gonzalez. He received an Eric Gregory Award for his poetry in 2011.

Martin’s writings appear in Hotel #3 and a series of his photographs can be found on the Hotel Archive here.  





2018




Marker

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Hotel is a magazine for new approaches to fiction, non fiction & poetry & features work from established & emerging talent. Hotel provides the space for experimental reflection on literature’s status as art & cultural mediator. The magazine is bi-annual, the online archive is updated periodically.

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2019
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