Materials do not carry permanent meaning for me, each iteration of an object and materials function in slightly differing ways, that being said, some material collect a personal history within the work and are examined along with older and new materials, locations, creating cross hatched language of sorts, similar to palimpsest, complete preservation of record is at a loss to the new layer. The difference between palimpsest and live art, is the top layer is yet to be written. The process unfolds live and often changes according to unpremeditated factors. A language made through recurring and reoccurring material, each conversation differing, evolving. Permanency of meaning can become disrupted through a process of repetition, through action and record.
Each live work/test brings new layers of meaning, influenced by both past and present contexts.
White Paint
Untitled, live test, 2013. Photograph taken by Dr Richard Allen.
white,white,white formerly known as
construct me, 2013 featuring Lee Hassall.
Photograph taken by Taz Lovejoy.
White acrylic paint, action to camera, 2012.
Lady - other - clown , live art, 2017. Part of a group show "post-trump."
White paint - Fluid substance, that marks, repetition of a material leaves an imprint in the viewers mind/ collective consciousness. It highlights the disparity between the deemed white body and pigment white (it highlights a socially constructed white). In this respect it challenges Western-centric art. From what's often deemed as neutral or non-colour seems to coagulate on a body perceived as white. In the context of art history and western beauty ideals , I see this application as a way to critique and deconstruct western-centric perspectives.
These applications aren't static, and are relational to each separate piece. This is shown in 'Reoccurrences' where the gesture is part of how the material is registered.