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There is something comforting about making marks on paper. The mark of the pencil, the field of white space, these quality's have interesed us all the way back to when charcoal and parchment were discovered.
It is elemental, familiar and it bridges prehistory to the immediate moment in which we exist now.
The humble graphic line, the simplest way of mark making, which allows it so easily to flirt with the macabre. From Hieronymus Bosch to Marcel Dzama the pencil has long been the mistress of the gruesome.
It is not surprising that one of the earliest and most direct forms of communication, is closely allied with the subconscious, and has continualy showcased some of the most gory and morbid fantasies of artists work through the ages.
The immediacy and simplicity of the line predisposes the pencil towards narrative. Just consider the tradition of fairy tale illustration, which I am also very intrested in, just as much as the textual content of the fairy tale.
The fairy tale illustration treds so tentatively near to the sinister, the pencil indoctrinating us with its grizzly agenda from a young age.
In my illustration's it is impossible to recognize or decipher any one story or fable. They are in keeping with and even an extention of my sculptural models used in my film work. Concerning them selves with the aura or spirit of the location rather than any linear, character based narrative.
An experience, a film like a piece of music, no plot as such you have to watch like you would listen to a piece of music (2001 or Koyannisqatssi).
Camera defining urban buildings where no one is meant to live or linger. Provocative spaces.
Demoralization of the entire cultural and civic infrastrucure.
The function of the site suspended suggesting abstract mindscapes. (share with sculpture)
The boiler room in Nightmare on Elm Street is a powerful example of sinister loci, the buildings unkept innards, visible wiring and pipes: valves are undisguised being no aesthetic imperative underground. Pressurized steam like madness seeking to vent. Has a defined function but is not a common place for people, behind the scenes of every day, hidden, secret, forgotten, overlooked.
As in Dracula's castle or Dr Frankenstein's lab. properties are remote and private, an ideal gothic setting. Places where no one can indulge dark activities.
Dark fairytale and historic reality meet here, becoming part of a classic horror mythology.
More modest structures can also lend themselves in retaining the gothic remoteness to showcase grotesque occurrences. Such as the aforementioned Freddy's boiler room.
A space that retains the personality of its former occupants remains in their spiritual possession (possessed).
The spiritual aura, residue of people in a place, same principal to Walter Benjamin's aura of an art piece in his essay 'Art in the Age of Mechanical Reproduction' where a reproduction in a book has lost the aura of the original , the feeling you get standing in front the actual piece, to see the brush strokes made by the hand of the artist, the scale of it and in the space it was intended for, that are all lost in a reproduction.
We can feel the spirit of a place in the objects and the function they once performed in that space, they work in our imagination to form a picture of past occupants lives and activities.
Freud's essay 'The Uncanny'.
Heimlich - Belonging to the house/ Unheimlich - Unhomely, also translated as 'uncanny' that which is wrong, freakish and anomalous.
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