A street cleaner fast asleep on a wall in Montreal, on the same street a
billboard thanking God. These two events had no discernable link other than
being on the same street at the same time. I wanted the possibility of a
link between these two things; the sleeping cleaner is able to manipulate
reality in an attempt to communicate with the rest of the world. The sign
reflects the lyrics in his head that tell us of his entrapment and loneliness
until the world rudely interrupts and blows his hat off.
All forms of existence, intellectual, emotional, physical appear to be trapped
within traditional notions of space and time. But there are the possibilities
of serendipitous moments where being and event conjoin to create something other
than the sum of their parts. This transcendence of reality is an always-differentiating
process, a viral effect that replicates, evolves, mutates, in order to keep ahead
of the rationality that pursues it in order to devour it.
The beings within these moments lay in a space in-between the real and the imagined;
they have transcended their localised space to become other than themselves.
These mundane spaces we inhabit become the repositories of the creators of greatness
and beauty. These ‘any-space-whatever’s’[2] are a necessary
condition for the emergence of uniqueness, singularities and significance, so
that the linkages between different spaces and times can be made in an infinite
number of ways. It is a space of virtual conjunction, grasped as a pure locus
of the possible impossible.
A welder in a Czech city creates the snow in another part of the city at another
time. The weather and the sparks from his acetylene torch achieve a direct causal
link. The ordinary becomes an outlet for the unique.
A drunken man in a leafy Cardiff suburb attempts to roll a cigarette and sit
down on an imaginary chair as the Japanese Kyoto drummers in his heart supply
the rhythm for his dance.
What we think we see and know, the representation and misrepresentation of realities
are an endemic failure of our perception, and it’s only a matter of opinion
as to what is the truth. I continually examine the surface of reality and look
for clues to that truth in its repetition. Perhaps there is a narrative in that
repetition that holds more than we are aware of, that lends depth to its apparent
flatness.
Such narratives are thought to be a direct image of time.
What I propose are a conjunction of video works taken from disparate spaces to
engineer meaning out of meaninglessness.w
Biografie:
2006
Biennal De Venezia, Bogotá, Colombia.
In Light, Gallery Aferro, Newark, NJ,USA.
National Eisteddfod, Visual Art
Pavilion, Swansea, Wales.
Oriel Davies Open, Undercover, Oriel
Davies, Newtown.
Darklight Festival, Irish Film
Institute, Temple Bar, Dublin, Eire.
Infinite Longing, ABC Gallery, Moscow,Russia.
Conjunction06, London, Birmingham andStoke.
37 Seconds, FACT and Big Screen
Liverpool in association with BBC.
Le Festival:Nouvelles Images, Anonnay,France.
3-in-1 - Saison Vidéo, Espace Croisé,
Roubaix, France in association withFabrica, Brighton.
Copilandia, Sevilla Entre CulturasFestival
Centro de Arte de Sevilla, Seville,Spain.
