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Saturday, 12 December 2009


This installation takes everyday objects, and the industrial materials and processes of their manufacture, and manipulates their material form to reveal function, design and social currency. By reinvesting the everyday with a history of exchange it explores the creative tension between the use of the found object and its cultural and social circulation.
Made from gasoline tins, food drums & fluid containers, Shrine consists of three free standing elements in close proximity: the first ten ‘barrels’, the second a narrower panel made of 90 black gloss ‘cans’, the third a wall of ‘water’ containers. In addition, there is a text-based reference to money and exchange. The work refers to the past ‘content’ of these containers – fuel, food preservative & water respectively – but in a way that implicates them in the processes of personal consumption. I hope this questions what we as individuals and a culture value. By bringing together metaphors for the body and the machine that are usually separated by a hidden series of social, conceptual, political and economic connections, this work personalises - and engages the viewer in an intimate spatial encounter with - their place in economies of exchange and meaning.

Saturday, 16 May 2009

A recent prototype, and return to my Povera roots
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Works on paper 2008
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Rebus 2003
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The Fold 2003
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‘You give me fever’

Steel, a material at once industrial, architectural, and automotive, dates very quickly. Whether in its pristine, raw state or in the artefacts of so many superseded modernities, it is stamped with the signs of its manufacture and its use value. It shines or rusts according to its mix or use. It takes the imprint of both its point of origin and its intended function. Then it wears out, wears away, weathers, needs replacing, resurfacing, taking its place in the narratives of time, consumption and, invariably, masculinity.

Marked by the aura of both machine and functional object, it nonetheless still implies metal, oil and their transformation. Steel is alchemical and thus the repository of a nostalgia, of a certain inbuilt obsolescence, of a certain style. In this case the visual rhetoric of cars, consumption and money. These panels – petrol station signage – have a kind of history, beginning in industrial processes, and generating a certain cultural currency, a semiotic charge. In turn the rhetoric of unleaded, super, $, most credit cards implies spatial metaphors, and the logic of transaction and transition. Perhaps the petrol station is not unlike the mall or the airport, interstitial, geographically specific but culturally general, ubiquitous.

A double-sided assemblage, they are re-marked: targets, tin men, toy soldiers, money and oil, Americana and automobiles, minimalist visual rhetoric, and signatures for abstraction, op and pop, the painterly gesture as impersonal and generalized (self) portrait, echoes of the grid, the mark as bodily habit, reflex, intuition. This material and significatory cascade creates a tear in social conventions, puts the viewer in my place, challenges the assumption of mastery and epistemological surety, and by implication, the subject/object relation: that’s archive fever.

More drawings from The Big House 2007

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Some drawings from The Big House 2007

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Ghost (kit form) 2008
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Ghost 2008
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Whitewash from a series of drawings
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Thursday, 14 May 2009

Enfin je suis branche