Which story do you tell about civilisation? Do you tell the one about humankind's long, slow, steady evolution from idiocy to enlightenment, or the one about the collapse of indigenous knowledge in the face of the onslaught of modernity?..
The dominate story in the West for the past couple of centuries; the one about modern, urban industrial culture's ineffable superiority over all others; the one about human evolution leading inevitably to this point… It‘s the one about machines and circuitry and ingenuity and progress... but it may not be going much further... We are now in a time of transition… we can see what the industrial economy is doing to the Earth... We can see the path our machine-addiction is leading us down, but we can also see the time and effort our machines save us. We can see how divisive and disastrous capitalism is, but we can also see the goodies it gives us… We can see humanities utter degradation of the rest of nature, but we don't know how to stop doing it - or, rather, we know exactly how to stop doing it but we are not even prepared to contemplate making the changes necessary, because they would break our stories open and leave them exposed to the wind.
Dark Mountain, Volume II, Paul Kingsnorth & Dougald Hine
The above statement from Dark Mountain Volume II strikes a particular chord – I doubt that these views remain the exclusive standpoint of the ‘outsider’? I would argue that they express the root of a wider degree of alienation.
We support artists who engage directly or inadvertently with this condition - unguardedly and often intuitively. Who confront the inner and outer, connecting the disconnected.
The context of Millennium is by no means a typical ‘Cornish’ one, neither is it an ‘Urban’ one. Our aim has been to develop a strong non-urban space, that can provide much needed representation of an alternative viewpoint.
Cornwall is a quintessentially remote, primarily rural location, which has an important arts heritage. The ‘light’ is often sited as a primary reason for its appeal, of greater significance to us is the inexplicable and indiscernible undercurrent, a feeling in the ether – nature, spirituality, primitivism, the elemental, the environmental? Call it what you will but this disparate, sometimes desperate extremity, far out west, with its pockets of wilderness on the edge of land and sky, has its own distinctive set of circumstances that continue to have a profound effect.
A mind can breathe, and observe, and reflect, away from the shrill desperation of a culture that, having forgotten that it is better to say nothing than something about nothing, invents ever new ways to fill every single space with less and less.
Sax Impey, 2013