fugitive
Insulation foam, acrylic paint, ‘Easy Plaster’, steel, glue, spray paint, calibration weight, electronics, silicone
85 x 80 x 110cm (approx.)
A body, with an under-the-kitchen-sink, broken-air-conditioner or architectural-mishap quality, inhabits the space with us. A quadrupedal form, apparently heavy and precarious, evokes threat, the body and the everyday. The 'drawn-on' legs and yellow feet evoke the human body's relationship to the floor, and the road. Despite being hollow, thus perhaps waiting to relate, nonetheless it - to borrow Pope L.'s phrase - primarily "shows up to not show up," a political position of a universal and general resistance. The title points to either some evasive and opaque quality, or the possible concealment of a crime.
Movement, Copeland Gallery
NB. At Where We’re Calling From, Copeland Gallery, this work was entitled There’s a Reward for Getting Underneath, pointing directly at the ‘joke’ of someone doing this bending over action next to them, and encouraging the discovery of the motor. Through reflection I have come to prefer the idea that the instructions of its production can become invisible, so that even as Hart and Barlow influenced ideas of the underneath/inside and hole are brought in, they do not need addressing directly - allowing “deadpan”, “inexpression” and “resistance” to come to the fore. This title comes from Tina Post’s Deadpan “between the fugitive and the opaque” pg. 15, introduction.