Artist’s statement 2017-06-04T07:12:14+00:00

Artist’s statement

My work explores the relationship between Bauhausian sensibilities and romance tourism.

With influences as diverse as Peter Paul Rubens and A.M. Cassandre, new variations are synthesised from both mundane and transcendant structures. New synergies are crafted from both explicit and implicit meanings.

As undefined forms become finessed into a cacophony of temptation, the viewer is left with a glimpse of the edges of our world. My spatial derivatives become transformed through undefined and diverse practice, temporal derivatives become frozen through academic practice.

What starts out as triumph soon becomes finessed into a cacophony of temptation, leaving only a sense of unreality and the chance of a new reality. Shimmering derivatives are transformed through a new agenda of the undefined of our existence as I pursue my fascination for the ephemeral nature of the zeitgeist.

Thus, if social realism holds, we have to choose between Derridaist reading and conceptual nihilism. A number of desublimations concerning textual preconceptual theory may be discovered, bridging the divide between social realism and semioticist postcultural theory.

(Yes, generated by an app at www.artybollocks.com)

Translation

I’m curious about the language used by so much of the contemporary art scene in recent times. I have a lot of questions.

  • Is art-speak a way of making work sound more interesting than it really is?
  • Is it a way of signalling membership of the establishment in the know?
  • Is it perhaps even designed to be deliberately opaque to art lovers who “don’t get it”?
  • Or is it merely pretentious verbosity?

I wonder what a society would be like if art-speak was used in other contexts. Could the world even continue to function if art-speak was the language used by news reporters, advertising or even bureaucracies? After all, even lawyers have given up on the idea of their very formal language and now use Plain English so they can be properly understood.

So I have applied the language of art-speak to a utopian art-society I call the United Sovereignty of Argot. (Soon you will be able to explore this exotic land at ArtArgot.com thanks to a Lonely Artist guide). There you will find representations of currency and travel posters alongside propaganda posters.

Many of these works contain excerpts from actual media releases from some of the world’s most respected contemporary art museums, often relying on tax-payers to fund their propaganda. A quick check on Google will often reveal the sources. I’d like my viewers to decide whether or not their descriptions are deeply meaningful and profound, illuminating deep esoteric concepts which inspired arts creators. Or not.

 

 

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