The above work is called SHED OF THE WEEK , It was used to sell garden sheds so I incorporated shed of the week into the work, it stood outsiude a do it yourself centre in gigantic form in London Artefacts exist, but it is not necessary to 'see' them. I am interested in the image, not the artefact, and how the image has a life much more insidious and invasive that the material thing. It makes one rethink the value of archives (all the originals) and their digitisation, free to use in a way the originals will never be.
and people wondered as they went by, a huge ad that was not advertising anything.
My image in D O A in belongs to an era before time b ut nevertheless a feeling of the Hollywood detective film kind of. imagine if this was the cover of a book that was about a detective ,
well it would be hard for someone not to at least pick it up but it could be about the power of your God , it could be saying "I LOVE YOU ANYWAY AND REGARDLESS but it could be advertising food .
The power of these images is that they pinpoint an era and a process whereby the stereotypes were formed and then embedded in the psyche via a trigger that cannot be pinpointed : , movies, toys, games, TV. they are dangerous, fearsome and inscrutable – a portrayal that can be used , and still is used by any group resisting assimilation.By any individual who resists injustice, by any company that understands the real heart of man wants to sell to him and by any religous organisation that resists the closure of its faith and reaches to the uncontaminated soul
Forgetting that this is a billboard, forget advertising
I don't think it is his signature. You cannot trust documents.
I don't think it is his signature. You cannot trust documents.
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