TRIAD STRUCTURES
The focus of the research behind these work is the intertwining between technology, man and nature. In essence the works are an illustration of an ongoing three-fold dialectical process - opposite forces come into conflict but instead of simply contradicting one another, they instead become synthesised into something more than the sum of their parts.
Exhibited in DISSOLUTION - Group show at Manuel Zoia Gallery Milan, Italy 2022
SHINY BUT DEEP White-lipped Australian Pearl Oyster, enamel painting on plexiglas, audio loop of siri reading an excerpt from Douglas Coupland's essay 'shiny', ipod shuffle 4th gen
TRANSCRIPT: Excerpt from essay ‘Shiny’ by artist/writer Douglas Coupland
...notions of value and beauty that are hardwired into our DNA. Shiny.
Shiny is youth. Shiny is fertility. Shiny is uncorrupted. Shiny smells like the interior of a new car. I love shiny, because the moment you see something shiny, you know there’s going to be something rotten or scary nearby, like the Japanese notion of the public face and the private face. I don’t like it when people show me something rotten without first giving me something shiny to compare it to. It’s like people who deconstruct music without first learning how to play it in the first place.
The art world is largely mistrustful of shiny things, and on some level, even fearful of them. But if sophistication is the ability to put a smile on one’s existential desperation, then the fear of a glossy sheen is actually the fear that the surface is the content. Fear of sheen is the fear that surface equals depth, that banality equals beauty, that shiny objects are merely transient concretisations of the image economy…
Shiny is youth. Shiny is fertility. Shiny is uncorrupted. Shiny smells like the interior of a new car. I love shiny, because the moment you see something shiny, you know there’s going to be something rotten or scary nearby, like the Japanese notion of the public face and the private face. I don’t like it when people show me something rotten without first giving me something shiny to compare it to. It’s like people who deconstruct music without first learning how to play it in the first place.
The art world is largely mistrustful of shiny things, and on some level, even fearful of them. But if sophistication is the ability to put a smile on one’s existential desperation, then the fear of a glossy sheen is actually the fear that the surface is the content. Fear of sheen is the fear that surface equals depth, that banality equals beauty, that shiny objects are merely transient concretisations of the image economy…
