The rope to the ivory tower
The other day my father told me: “that blog of yours…not much activity there lately, huh? And…you claim that it’s about the process, but I see almost nothing of your work or your own ideas in it.”
Although I argued that referencing and quoting great artists and thinkers are obvious methods of my artistic practice and that everything that goes into my head will be re-approriated in my mashed-up work in some form or another, and let me tell you how the internet is a serpentine place for ephemeral experiments, maybe he was right: have I failed my bold mission statement by hiding from the constraints of time and the menacing public eye? And yet wouldn’t that also count as being part of the process?
So I thought I’d invite you into the barricaded cradle of trial and error, ‘a thing of the past’ apparently*: my humble, schizophrenic, baroque workspace, as it was installed a week ago.
* According to Jens Hoffmann’s analysis of contemporary art studio practices in: ‘Documents of Contemporary Art: The Studio,‘ 2012: Whitechapel Gallery and the MIT Press.