Chrysalis documents the legacy of an artwork after a performance. Performance is often a misunderstood art form and is rarely experienced first-hand. Chrysalis provides not only the opportunity for audience participation but it allows materials used in the performance to take on a second role as a sculptural object. To begin the exhibition the artist is rolled up in the canvas, and then tries to break loose from it’s confines. The canvas then takes on a sculptural form, as the stiffened coiled canvas becomes an elegant documenter of the process of escape, rather like a discarded cocoon. Visitors to the exhibition are then invited to unravel the work and experience it first hand leaving behind their own sculptural trace. The works power is drawn from its surroundings, being the only sculptural piece in an exhibition solely focussed around painting and photography it comments on being confined by the limitations of the medium. Being rolled up in the canvas can be seen as a poignant symbol for the security sought in traditional painting and craft, whilst the emergence can take on the role as a powerful interpreter for the age of radical Duchampian ideals.
Systematic Obsolescence is a representation of our time. A generation that is battling tradition and value with rapidly increasing technological advancements. The contents of this museum was once prized possessions new to the market, the latest gadget so to speak. But as time has ticked on, they’ve been surpassed. The astrolabe for example, could be seen as an early and rather ornate GPS system. Systematic Obsolescence aims to incorporate function, technology and tradition to create a mysterious piece that documents not only the inevitable succumbing of technology but also of time itself. It inhabits any environment in which it is placed. The continuous ticking as every second passes, a constant reminder of the inevitable passing of time that is inflicted on us all. Despite the continuous beat the rod never moves, a visual symbol to the new technological age. No winding of a key to move some parts, the piece just operates. The beat can be a seen as a trace of former function, a ghostly presence; a trace of it’s past.
This has got to be one of my all time favourite scenes from any film. So thought provoking and arty, wouldn’t think any less of seeing this in a gallery space.
“These violet delights have violent ends
And in their triumph die, like fire and powder.
Which, as they kiss, consume.”
The title makes a comment on todays drug cultured society, riddled with wild nights out, alcohol and the pursuit of the elusive one nightstand. Drugs like MDMA are commonly known as love drugs and I became fascinated by the idea that a substance can enhance or trigger emotions resembling love. I’m captivated by the power diptychs can have once combined, yet for this work I became intrigued by the prospect of separation. I have therefore chosen to exhibit the works not side by side but opposite one another, to emphasise not only the togetherness but also that they are very separate entities.