Foreword by Daniel Jones
(Edited extract from 'The Whiff of the Real')

Olfaction is the neglected sense of the fine art world. Though an art work has to metaphorically ‘smell’ or at least create a stink in order to seduce me, tradition dictates the obfuscation of odour in the gallery space. Marshall McLuhan charts the prioritising of the visual sense over others through the invention of the printing press and the spread of universal literacy, a historical development he describes as superseding the ‘acoustic space’ that dominated pre-Guttenberg (the inventor of typeset printing blocks) civilisation. It would be interesting to read a parallel analysis of how our changing sense of and emotional reaction to smell has influenced the way we receive information, make decisions and form aesthetic (and sometimes ethical) judgements. Olfaction has become the C21 pariah sense. The explosion in personal hygiene over the past century or so, combined with the ability to synthesize almost any scent imaginable has left us divorced from an ontological relationship with our olfactory perceptions. Polite society and most art forms require the neutering of the sense. I have heard audiences complain of the body odour of dancers and actors on stage – though personally I am always impressed by this signifier of the performers’ committed endeavours. Art galleries are scrubbed to sterilisation, so that only the lingering traces of cleaning products remain. Yet our love affair with ersatz scents dominates our social lives and fills up our bathroom shelves.

Olfactory art also resists commoditisation and fixed meaning. The scent exists for the moment and cannot be captured by technology or recording devices. The persistence of the work is only possible through the memory and associations of the gallery audience. As Proust declaims in A la recherch√© des temps perdu "When nothing else subsists from the past, after the people are dead, after the things are broken and scattered· the smell and taste of things remain”. The peculiarly emotive impact of smells is explained and confirmed by scientific studies. Olfaction transits messages to the cortex AND the limbic system, the new and old parts of the brain, meaning that our interpretation and analysis of smells is simultaneously emotional and cognitive: moody and rational.

Dan Jones (edited extract from “The Whiff of the Real”)

Mark Porter (Sculptor, Chicago)

Internal/ External
Materials: Aluminum, steel, plastic, pigmented/ fragranced soap water, air pump, nylon tubing

Function: Expels a scented and colored soap mixture onto wall. A scented soap mixture is used for the mix. An aroma builds up which smells of artificial fragrance, which is similar, and also in contrast to the cold mechanical object which expels it. The object served as a demarcation machine. The soap mixture is expelled continuously slowly over an extended period of time. Soap bubbles form in the mixture. A thick sludge builds up on the wall and floor over a short period of time.

Internal/External is an exploration of several themes including communication and personal expression. The red liquid stored internally within the machine becomes external as it is expelled onto the surface of the gallery wall. During the process of expulsion, the red liquid becomes another form as it is converted into a lather or soapy sludge that fills the air with a synthetic floral scent. This process is a metaphor for an idea that comes to fruition and the difference between what it was and what it has become once it is externalized.