A project with Carson McColl.
I worked with il maestro Signor Ontani on the costumes for this performance piece. It took the form of a procession from the Serpentine Gallery to an oboe-accompanied tableau vivant at the Royal Geographical Society. The papier maché masks were hand-made in Italy. Each masked character represented a literary or art historical figure such as Aubrey Beardsley, Virginia Woolf, Francis Bacon, Reynolds via Gainsborough portraits.. references to references.
With thanks to Vanessa Boni and Nicola Lees.
Lime wood 26cm x 9.5cm x 13cm; cotton lashing
The ultimate sustainable approach to design is to prioritise the potential longevity of the designed item and consider its later maintenance as a key part of its essence. The features of this object are reminiscent of those found on a wooden boat. This draws attention to the effort and passion with which a boatowner cares for their vessel. Ownership in this sense does not imply passive consumption. Furthermore, an engaged relation of labour constitutes part of the enjoyment of such possession.
Displayed at the Re-Dress exhibition at Dún Laoghaire Festival of World Cultures July 2010.
Thanks to Chris Pendrich for wood carving mentorship.
14th October – 1st November 2009
Featuring works by:
David Ferrando Giraut
The group exhibition “Triumph of the Will“ emerges from a series of complex questions that begin with Leni Reifenstahl‘s influential 1934 film of the same title. The film was commissioned and funded by Hitler and portrays the euphoric Nazi rise to power. The filming used 90 camera-men who captured over 1 million individuals. It is regarded as a landmark piece of cinema both technically and for its epic renderings of the united body-mass and their messianic leader. Despite Reifenstahl‘s later claims to the contrary, the film exists in collective consciousness as being the “most successful, most purely propagandistic film ever made.“ (Susan Sontag).
How do we understand the aesthetic legacy of this event?
Does any aesthetic embody and bear responsibility for the final solutions of ideology?
In the contexts of both the film and the works in this show, what is the power of the individuals depicted and those implicated as audience?
The Centre of the Universe is a nomadic art space.
“If the World came to an end how would you imagine starting over?
What is the best thing about having less work, less money and
more time? How would you best spend your (Free*) time?
How can we re-orientate ourselves in a changing world? What do we hope for the future? A moment of recession marks a deceleration and slowing down, and an opening up to a time of reflection, reservation, and conservation. In a state of lull is there opportunity forge new values, forms of solidarity, closer familial ties, and healthier modes of consumption? Is there value within a moment of quietude for much needed reflection?”
The End of Something project at Volume, August 2009.
114-116 Amersham Vale, Deptford Police Station, New Cross, London SE14 6LG
(The environment is very damp. Please wear appropriate shoes.)Where:
(The Car Park end of) Abbot St, Hackney, London E8, UK
Not quite an exhibition, but a deep challenge to an environment. In an abandoned and unidentified post-war bunker, spreading out underneath Dalston, East London, this show is a response to the space it inhabits, and to the history it recalls.
THE BUNKER is propelled by the search for different spaces and modes of operation. Pushing our expectations for the future forward, we can trigger the motor of history to act, evolve and motion.
He is also completing his MA in Fine Arts at Goldsmiths College, London.
On the evening, there will be a series of tailored screenings from video-sharing platforms, as well as a programme of interventions that will follow throughout the duration of the show.
THE BUNKER is produced by The Centre of the Universe, for and with the support of the Embassy of Switzerland.Very special thanks to the Bootstrap Company & Antoine Sandoz.
The smallest actions have an impact in an interconnected closed and finite system. The awareness of consequence tackles nihilism. To realise finitude is to unravel infinite possibility. This creates a context for powerful action and a potential end to apathy.
With thanks to James Wignall (Structural Design), Monique Dorniak, Ryo Himuro and Camille Roman (Sewing) and all donors of garments and stuffing.