| charles sandison : good and evil ........................................................................................................................................................................................ | |||||||||||
|
|||||||||||
 ......................... shop .................. competitions .............. education ................ interviews ................... snapshots ................... history .......... contemporary
|
|||||||||||
| charles sandison / good and evil gallery kari kenetti, helsinki, finland 14.04.- 05.05.2002 http://www.kenetti.com gallery frank, paris, france 17.05. - 20.07.2002 http://www.galeriefrank.com/data/f_actu.html there are two kinds of words, 'EVIL' and 'GOOD'. the 'evil' words are blood red, and the 'good' words are pure white. the words are trying to destroy each other and there will always be quite a lot of them. the words move in groups like armies. the words flow slowly, almost like liquid or paint, I want there to be reference to painting. like the fantastic canvas of breughel - 'triumph of death'. the words, as they move are like broad brush strokes spreading out into the darkness of the room. I try strongly to bring a reference to the body and blood cells, the body at war with itself, is a necessary condition of being alive. as each word seeks to expand into the territory of the other, they are programmed to behave in a similar way to a cancer cell or a malevolent virus. an argument. when the words collide there is a 50/50 chance which word will be eliminated. as the white and red flow into each other they flicker, producing shades of pink. there can be as many as 20'000 words moving in clusters and formations as the battles rage. sometimes I try to visualize the journey of a word as it leaves the lips of a speaker and moves towards a listener, or imagine, when standing in a public library, that all the books are quietly talking. the vision that occurs in my mind is that of a vast flock of birds, which seem to move chaotically yet somehow, manage not to collide. physical space and the void between the words stand in for pronouns, verbs. I use this articulation between meaning, words, and in between spaces as a way to escape the authoritarian power of language. there is a theory that we have lost authenticity to the 'white noise' of what has already been written or spoken, words only refer to other words. I disagree, by looking for patterns and structures in the swirling ether of images, symbols, and history, we have a chance to move beyond ourselves, find a shared meaning, truth, or 'authenticity'. I try to build into the work different layers of reading; each layer is interwoven across time and space. from a distance the words are perceived as moving objects, upon closer inspection they are recognizable as text. the viewer is immersed within the installation (the words are allowed to fall upon the viewer.) the viewer stands both outside and within the constellation, this is an attempt to deliver a tangible experience using immaterial matter. to 'present' rather than 're-present'. the 'picture frame' still exists but is de-materialized and animated, to continually relocate the viewer and by doing so allow them to move more freely within the flow of the work. when the words are projected in a language uncommon to the viewer they can still be recognized/read in other ways. the computer gives me the freedom to work on many different layers simultaneously, and to shift the viewer's attention dynamically throughout the work/experience without exhausting attention or relying on too much 'pre-knowledge'. charles sandison, 2002
|
 'good and evil' installation by charles sandidon, 2002 courtesy of the artist     |
||||||||||
---  ------- monthly designboom newsletter ------- ------- ? comments and contact us ? -------  |
|||||||||||
