The Physical Possibility of Death in the Mind of Someone Who Can Actually Draw.
#opensignapse 3 was another corker, with several new people. Conversations kicked off with Lisa Temple Cox’s new drawing and small boxworks. She has built up a substantial body of drawing in different medical collections around the world. We talked about the denial of death, about memento mori and the collective blind spot that mainstream media has about bodily imperfections.
Riffle through the lifestyle mags in a doctors waiting room (there’s an irony for a start), watch any adverts and you’ve wandered into a collective delusion where nobody ever becomes frail, gets old, or dies. There is such a pathological fear of blemishes and misfits. This delusion has always made me feel queasy. Lisa’s quiet and intensely observed drawings awaken you from the delusion, gently at first because they are very beautiful but then with the violent recognition that you are looking at your own frailty. She’s curating a show (working title The Last Taboo – but that will almost certainly change) of artists from UK, Europe and USA. So they got me rootling about in the store to pull out the drawings and monotypes from my Likeness show in 2007.
The last one is a drawing I made of my dad when he was dying. I don’t often get that one out of the store.
We then reviewed the of the filmed live action for Shelf Lives. Stuart Brindle and Eileen Aldous from East Media Productions put together a rough assemble of all the footage and then made this first cut teaser/trailer. With apologies about the sound, and for my voicing skills neither of which will make it to the final mix :
How lucky am I to be working with them ? Finally here’s an updated text about the Shelf Lives show. Wall texts have always made my heart sink whenever I see them at a show, so I won’t be having any at the actual show, but writing them for the #opensignapse sessions has been really interesting.
Shelf Lives at JMT : Paint, make, film and perform
The launch event on 23 May 2015 is the central statement of this work. Paint, make, film and perform. I use film to animate static objects (paintings and small sculpts) and I use performers to free audiences from the passive assumptions of static art.
My motivations are individual memory and how it enlivens our shared history. I’m interested in how many meanings and objects we share and how many of them remain after we are gone. My hope is to be met by an active audience, who feel able to bring their own memories and responses.