WORK: Excerpts

“Malleable identification, as the boy has taken it on, has not been a liberating experience, but it has been a relief.”

2012. Ink on paper. 10 x 7.5 in.

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VSK Residency Repost 12

“He is lying on his stomach again for the second time this evening. To the left of his head is a glob of saliva half-absorbed into the carpet. It fell there from his mouth while his efforts were absorbed in defying the gravity tugging at his entire body – under the circumstances, oral spillage was a necessary concession. Once he stops feeling so weak in the arms, he will get up, find his shit sponge, and clean up the little, watery mess on the floor.”

2011. Ink on paper. 3.5 x 3.75 in.

This image-text pairing originally appeared on VerySmallKitchen as part of a 3-month online residency.

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VSK Residency Repost 11

“All the while his pet project (still a work in progress) is playing through the terminal’s speakers. The sounds of double bass, trumpet, and xylophone are completely unrecognizable as they play overlaid but artificially extended chords. The track reaches the point that exceeds the portion Nathaniel has been manipulating, and immediately the playback returns to its native and unaltered tempo. This sudden change of melodic flow steals Nathaniel’s focus from the perceived almost-eternity of wobbly exertion, and he drops limp-armed a few inches down to the ground (his body would have given up right about now even if he hadn’t been distracted by the music).”

2011. Ink on paper. 3.75 x 7 in.

This image-text pairing originally appeared on VerySmallKitchen as part of a 3-month online residency.

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“He has yet to complete a single pushup, though he has been attempting for a while without interruption to perform one from start to finish. Embarrassingly, his arms seem content to maintain an involuntary shuddering motion that only affects the rest of his body along a horizontal plane, rather than aid in accomplishing the task at hand. Is this uncontrollable vibration in fact a perpetual motion, or is it a friction? It resists progression, yet remains ceaselessly frenetic (or so it seems to Nathaniel, who cannot currently conceive of a conclusion to his discomfort and toil).”

2011. Ink on paper. 3.75 x 3.5 in.

This image-text pairing originally appeared on VerySmallKitchen as part of a 3-month online residency.

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Excerpts. 2012. Installation view: The Possibility of an Island. 2012. Grand Union, Birmingham, UK. Photos by Tim Dixon.

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“Nathaniel recalls his grandfather’s tales of toilet paper use; of how at times one could wipe and wipe and wipe after defecating with no indication of a progression toward cleanliness. Of course nowadays toilet paper has been replaced by superabsorbent synthetic sponges, which leave no trace of solid matter, nor liquid, nor even bacteria, upon their surfaces after wiping.”

2011. Ink on paper. 7 x 7 in.

This image-text pairing originally appeared on VerySmallKitchen as part of a 3-month online residency.

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The Possibility of an Island: July 13 – August 18, 2012

A selection of work from my Excerpts series is included in the exhibition The Possibility of an Island, which opens very soon at the Grand Union project space in Birmingham, UK.

THE POSSIBILITY OF AN ISLAND
Opening Friday 13 July, 6–9pm
Exhibition continues 14 July to 18 August 2012, open Thursday to Saturday 12–5pm.

Featuring work by Cory Arcangel, Jacqueline Bebb, Paul Antony Carr, Tomas Chaffe, Stuart Croft, Jason Dodge, Sean Edwards, Joanne Masding and Andrew Sunderland. Curated by Tim Dixon.

Separated from a landmass and surrounded by sea, an island can appear a self-sufficient and closed unit, set apart from the world by its distinct language and custom, sitting in relation to and juxtaposed against an other. The very condition of an island’s possibility lies in its removal from something else, its displacement from a network of external influences that governs its being and gives it form. As such its relative autonomy is in fact contingent upon a range of factors that make it so.

The work of these nine international artists set questions of autonomy and contingency into play. The works, in video, drawing and sculpture, question their relationship to, and separation from, a world external to themselves.

Through strategies of isolation and displacement, the artists bring forth material elements from circulation in a larger context and enact processes which separate them from the world; the works extract themselves from their wider networks in order to become visible.

Both the objects and this exhibition are produced through processes of removal, selection and fragmentation. Implied within this is a reflection on the curatorial process and the nature of the curated group show; a construct in which individual works are brought into relation with others and both create and sit within a context.

FAMILY WORKSHOP
1–3pm Saturday 14 July 2012

Artist Joanne Masding will lead an informal, drop-in workshop, exploring the exhibition through light and surface, using projectors and everyday materials. Free to drop in for families and young people as part of Warwick Bar Summer Fete.

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“The extreme absorbency of these sponges guarantees that they are perpetually sterile. For this reason, it is common practice to both wipe up household messes and clean one’s genital and anal territories using the same sponge.”

2011. Ink on paper. 7.5 x 7 in.

This image-text pairing originally appeared on VerySmallKitchen as part of a 3-month online residency.

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The Possibility of an Island: July 13, 2012

A teaser for The Possibility of an Island is currently on the homepage of Grand Union (Birmingham, UK). The Possibility of an Island is curated by Tim Dixon, and features work by Cory Arcangel, Jacqueline Bebb, Tomas Chaffe, Stuart Croft, Jason Dodge, Sean Edwards, Joanne Masding, and Andrew Sunderland; as well as work from my Excerpts series. The show opens 6-9pm on July 13, 2012 at the Grand Union project space.

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“Such stringent guidelines governing self-identification may seem arbitrary presently, but he’s borne names prior to this one which did not allow for any hair growth at all. [ . . . ] These are but a few of the instances in which he finds that only specific decisions can ever be made. Fluid identity has not turned out to be the liberation he anticipated.”

2012. Ink on paper. 7 x 7.5 in.

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