‘THE DADORAIL OF DELUSION‘
A murmeration of some 240 bookworks.
‘THE DADORAIL OF DELUSION’
A limited edition book of the books.. . . . . . . .
The Collected Works in Four ‘Chapters’ :
Before this short period with books I’d been working on a series of wall-panels
I used unfamiliar materials and techniques that were either alien and uncomfortably inappropriate in some way.
I kept to the 4’x 4’size in part because it was half standard 8′ x 4′ sheets of construction material.
The following are examples of ‘Homunculus’ work produced during my ‘Established Artist Fellowship at UrbanGlass Studios, Brooklyn, NY.
1. ‘ELVIS’ diptych 48″ x 48″ neon on glass
2. ‘Escape Ladder’ 48″ x 48″ neon on glass.
3. ‘Big BANG’ 48″ x 48″ slumped glass on metal with a circular wall insert screen showing a 5 minute continuous loop video ‘Frog’s Porn’ to the sound of crowds alternately heckling and cheering.
A unifying factor in the ‘Homunculus’ series is size and scale.
8′ x 4′ – the standard sheet size for construction materials – led me to choose 4′ x 4′ as the best option.
This format avoided ‘landscapeness’ associated with horizontal formats whilst allowing a bit of ‘portrait’ potential.
I wanted them to have a real physical presence as well as the’windowness’of a traditional canvas.
This was a way of increasing the tension of ambiguity between objectness and illusion.
I would often begin the process setting objects deep into the surface – copper pipes, photographs, tools etc. and then completely covering them with canvas, paint, polyester resin.
It would then be a matter of stumbling across these ‘buried’elements and responding to their presence in some way.
I have used angle-grinders, routers and blowtorches to draw across and into the surface. I’ve used mirrors, sheet metal and photographs to re-assert flatness, soaked garments and vegetation in polyester resin.Attached toys, dripped enamel paint ….anything I thought might interfere or exagerate difference
Like a time-capsule benefactor anticipating discovery.
Flashback to the many moments where, like ‘proper’ builders did, I would set a tin full of poignant bits and pieces into the wet concrete of a newly-laid floor. ……always anonymously and always with the very slightest possibility of it being excavated.