ALL YOUR DREAMS BELONG TO US
Life is full ofÂ contradictions, it keeps things interesting, certain people try to live out their lives through products and brands, itâ€™s accepted in our society that shopping is a â€˜hobbyâ€™ and wearing brands depicts youâ€™re of a certain â€˜statureâ€™, â€˜classâ€™ or your desire to â€˜expressâ€™ your mind set and beliefs.
Iâ€™ve never said â€˜donâ€™t buy this brandâ€™ or wear donâ€™t wear â€˜label Xâ€™ because I drink Coke, I wear Nike and I donâ€™t live in a Kabutz and â€˜pretendâ€™ iâ€™m world conscious, knowing, secretly that all along my millionaire parents are there to bail me out, as and when needed, but if thereâ€™s an alternative it should be considered, I think people are now aware (read wary) of these super brands, the times are a changing, the tables turning, there is a return to the artisan and hand made, the under dog is rising.Â My work has always been about that, pause, thatÂ subversiveÂ intermission from the media saturated environment that surrounds us, I always saw the work I was putting up in the street as a break to to the advertising bombardment, all I aimed to do is get people to consider an alternative or look at the brands that surround us with different eyes. The â€˜billboardÂ liberationâ€™sâ€™Â iâ€™ve created are my most direct way of instigating this.
Living in any city is inspirational, from the overlaid torn flyposters, to the tagged rusty metal door, or the jammed rotating billboard displaying parts of 3 different adverts at the same time, the chopping of music through different car stereos as I cycle through traffic on a hot day, to the new music I search out to listen to when Iâ€™m working the long hours in my studio. I donâ€™t really look for inspiration but am drawn to things naturally, allot of elements from my childhood and teenage years still have a huge influence in my work, not directly as such but more mentally, the mindset and DIY mentality that accompanies skateboarding and the grunge music I was into as a teenager, the comics I read, these things inspire me daily. It was this that brought me round to think about the mental â€˜filtersâ€™ we have from the constant barage of information that surrounds us, particularly those of us that live in a city, how much of that information we conciously or subconciously retain, over the course of a journey, whether thats a daily journey to and from work or a lifetime journey. How does this shape and form us? Iâ€™ve become fascinated with our appetite for the â€˜newâ€™ and â€˜moreâ€™, it seems we cannot digest enough information & imagery with the rise of the internet, which is now the core staple of our visual diet. It seems what would once have lasted a lifetime, now mearly serves as a blog post, relegated to the â€˜next pageâ€™ in a matter of hours, I realise that Iâ€™m as much a part of this, I like the change of pace, the virtual appetite, but equally I like the well thumbed â€˜hardcopyâ€™ that lasts a lifetime and gets handed down to future generations.
It was this that insprired me to produce my next body of work that would be shown at my solo show at Jonathan Levine Gallery, New York.
Taking the core basis for the work from the rotating cube in my show â€˜aPOPcalypse Nowâ€™, I turned the â€˜visual volumeâ€™ up, to portray this sensory overload, filtering and the results thereof, that have occured in my life. Like a DJ mixes beats and samples, both recognisable, long forgotten and bespoke to create something new, with this body of work I mixed imagery that has become â€˜acceptedâ€™ in our visual world along with elements specific to my inspiration and those that donâ€™t exist and I created a fresh, splicing them together so that whilst the individual elements may be recognisable and apparent, the â€˜completeâ€™ picture is something new.
The completed paintings were given 6 coats of high gloss varnish, giving them an arfificial â€˜Glazedâ€™ apperance, like a â€˜visual pillâ€™ making them easy to swallow. I always try to produce an installation specific to each show, something that canâ€™t be experienced fully unless you attend the show in person. The center piece for this show, would be painting the entire space black and encorportating the walls and floor with a giant spiral, sucking the work off the walls and into the center, where I sunk a fake eye into the floor, acting as the â€˜focal pointâ€™ of the show.