When I see the work of someone like a Phyllida Barlow with an installation endlessly taking over a gallery space there is a distinct feeling of amazement because what has characterised my art from the outset has been the self-enclosed limiting factor of the edge of a canvas or sculpture with a definitive outline.
I think it comes down to the society we have created where the expectation of something for nothing pervades every aspect of the retail market
Are these the natural filters we have come to accept Novelty, boredom and death? Perhaps we of the 21st century can’t see the wood for the trees and will have to wait a century or a millennium to find out what has survived and what was worth preserving but who, or what circumstance, actually render that decision, if indeed it is even rational, remains a mystery.
The candidates for this year’s Turner prize all work with their political and social pasts, injustice, prejudice and colonialism as the reworking of history seemingly exists to teach us lessons. While art has always been utilised as propaganda, those lessons essentially fall on deaf ears.
As someone said to me last year, ‘if I can’t hang my car keys on it, why would I buy it?’
EXHIBITIONS IN 2024 As 2023 comes to an end I am planning for next year. It promises to be busy. The large wooden sculptural works will be out on display for the first time as will many of the smaller pieces. Of particular note will be the installation at Palmer. It...