Taborn’s wall-piece ‘Joey the Musical Beuys’ is an intriguing admixture of socio/psycho/political inferences and references through narrative and metaphor.
Real objects from real people, all of whom were guilty of self-mythologising in the cause of audience enhancement.
Using the famous Bettelheim case study ‘Joey the Mechanical Boy’ as it’s theme, Taborn has constructed a plumbing system to house and nourish the multiple artefacts of liminality.
Controlled and calibrated, vital lubricating fluids coarse through the pipes .
A split pew chair enters the wall ,( recombining via the ‘platinum’ disc of Wagner’s ‘Tristan and Isolde’) crammed with ‘Pew-Bic’ Horse hair stuffing from inside Freud’s actual settee . A cloth remnant bandages a broken leg.
A 1955 Beuys’ work on paper , fire-salvaged, , hangs from the copper tubing, it’s forms echoing the ball-cock, melting Wagner’s and circular saw blade.
All are implicated.
Although in and of themselves valuable , the poignant artefacts offer a forensicfocus on the fabulous fables.
As with a ‘Fat Chair’ of Beuys, “Fine words butter no Parsnips”
Louise Donfaldo R.A.