Artist Curated Projects
Curated by Erika Vogt
HISTORICAL: Pentagons in particular
A friend read out loud the Arthur Magazine article describing the time Allen Ginsberg, Kenneth Anger and some other people went to levitate the Pentagon 20 inches off the ground. Kenneth Anger apparently spent most of that time underneath the VW van muttering things, lighting candles, and performing occult rituals. Somehow… he got past the guards and put little pieces of paper with occult symbols on each toilet in every Men’s bathroom all the way through the Pentagon – so the story goes… So pentagons in particular were very interesting…
PRESENT: The Press
The press I found was far from my house so I thought in some way I could “print” cutouts from memory, by painting them. I relied on memory: the source was obscure. The images are always getting at something (the source). There is no one image, no one thing. It’s a relationship. (Like printing, like filmmaking). It is always a series about a thing. Sometimes the thing changes while you are working… I started looking for other sources. At work there are a lot of repeating shapes: corner supports, heaps of boards, cuts and offcuts (rectangles, squares, “L”s) – nothing stays the same: things are used, cut, moved, put together, sent out. So in a way the paintings freeze different moments. I use the isolated shapes the same way I used the paper cutouts: they become sources. I am trying to remotely tap into certain qualities these things have – by/via painting them. Because the thing is not right in front of me there is always that chance that I will get it wrong – or that it will change. The mistakes and the obscurity are a way (like a path) to something else…
History of France sets out into that obscurity and works backwards, colliding known (historical) figures onto very obscure, element-like shapes. (“What will happen?”)
Drawings as instructions for sculpture.
The thing fills the page.