Into the Weeds
Install view: MA Show, camberwell college of arts, London
Insulation foam, ‘easy plaster’ repair cement, pva, wood, acrylic paint
found steel, goo, aerosol paint, builders’ line, aluminium, tape
bronze
2024
A sculpture made from remains, a gesture towards rupture and interruption, with no central position to the wreckage, and an indirect relationship to the room’s architecture. It came from destroying a previous faux-concrete sculpture, one of a series, and then rearranging the fragments. Occassionally I would offer a tour guide-esque interpretation to the ruins. Nearby, a bronze nose hangs at the height of my nose.
“The origin of this work is a question about what the changing social context of monuments and monumentality means for the next generation of artists
“It uses real construction materials to reference what is ‘constructed’ and ‘architectural’ while suggesting a rupture – like the ceiling or the road is collapsing. There is no central position to the wreckage – just wherever we are standing.
“Little touches, such as this steel, are found; most of it is studio; all of it is ‘real’ wreckage. Ultimately, it’s all social context.
“ps. not my nose.
“July 2nd 2024 Camberwell”
Script
Incidental script, ink on paper. Performed by the artist nearby. Transcript.
While the work as a whole can be stepped through, it also rewards a long look from multiple viewpoints. The performativity of interpretations hovering nearby (embodied by the materials list, nose, and my own memorised script) mirrors the contemporary condition of historical monuments and ruins.