MALICE AFORETHOUGHT
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Sunday Morning - 2013
‘You better stop, look around. Here it comes, here it comes, here it comes, here it comes. Here comes your nineteenth nervous breakdown.’ Rolling Stones, ‘19th Nervous Breakdown’ [chorus], 1966
Fishbowl - 2013
‘How I wish, how I wish you were here. We’re just two lost souls Swimming in a fish bowl, Year after year, Running over the same old ground. What have we found? The same old fears. Wish you were here.’ ‘Wish You Were Here’, Pink Floyd (Roger Waters, David Gilmour), 1975
Mystery Couple - 2012
It is dizzying; the intimacies that can transpire between strangers. At times it feels necessary to establish some distance – focus on the mechanics of reproduction. Her gaze becomes forensic. She studies the photograph, looking for its imperfections, its technical failures. As a painter, it is excites her to find the fault lines – the places in the photograph where the image has broken down, becoming something other than technically sound mimesis. It becomes important somehow to reproduce the glitch – maximise the instance of interference that has visually disrupted the transmission of the moment across time. Her starting point is the record rather than the moment. She flattens out the background oranges and the black tones of the man’s suit so that they become a flat pattern – evidence of fallout from the dimensionality of the real.
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