Post by tim on May 25, 2007 2:18:39 GMT -5
Here's the text that Zoe forced me to write...(only joking), Its the dumbed down version for the non-critical public...hmm (only half joking) and if you want to change it b4 the private view and we actually go public...then go ahead...! (no joke)
C u soon,
Tim
G r a d u a t i o n S h o w
The gradual, graded (degraded), and staged movement between rooms is what is presented to you here, and here… How many rooms or spaces is left up to you to fathom. There are at least three entrances.
By unpacking the artwork that appears to emerge out of crates we set off on a continuum of processes familiar to anyone who encounters the artist’s studio, the gallery, the artist’s agent, club and the reading room, the magazine corner, the creative process.
There are as many ways to navigate through this exhibition as there are doorways, but not all these entrances are passable. There is a maritime image of a continually charted ‘rhumb line’ that always approximates to the actual sea condition and course taken, where all maps, points and locations are sheer metaphor.
There is an apparently integrated ‘site’ in which a graduation of chaos is intimately connected to its near opposite, the white cube – which in itself may be a variety of interior, decorative architecture.
If we use the language of success and this graduation is successful, is this the same instrumentality that uses art and artists to ‘regenerate’, within which we are always already accountable and our creative instincts dissected and measured?
It may be more productive to sense our way, with more than the eye, and that may include an encounter with the empty space, the Other, the edges, those places not quite entitled to be or become artworks, yet within which we play.
C u soon,
Tim
G r a d u a t i o n S h o w
The gradual, graded (degraded), and staged movement between rooms is what is presented to you here, and here… How many rooms or spaces is left up to you to fathom. There are at least three entrances.
By unpacking the artwork that appears to emerge out of crates we set off on a continuum of processes familiar to anyone who encounters the artist’s studio, the gallery, the artist’s agent, club and the reading room, the magazine corner, the creative process.
There are as many ways to navigate through this exhibition as there are doorways, but not all these entrances are passable. There is a maritime image of a continually charted ‘rhumb line’ that always approximates to the actual sea condition and course taken, where all maps, points and locations are sheer metaphor.
There is an apparently integrated ‘site’ in which a graduation of chaos is intimately connected to its near opposite, the white cube – which in itself may be a variety of interior, decorative architecture.
If we use the language of success and this graduation is successful, is this the same instrumentality that uses art and artists to ‘regenerate’, within which we are always already accountable and our creative instincts dissected and measured?
It may be more productive to sense our way, with more than the eye, and that may include an encounter with the empty space, the Other, the edges, those places not quite entitled to be or become artworks, yet within which we play.