Sunday, 12 June 2011
Work from his oeuvre.
A scientist, after driving his electric/eco friendly go-cart like car to an observatory,
looks through his telescope to discover an apocalypse-heralding asteroid tumbling towards the earth. In a heartbeat he is online finding his nearest Hummer dealer, and then off in his go-cart to the dealerships.
The suspension or postponement of progressive social ideals (generalized here as scientist-cum-survivalist) in theatrical, exemplary circumstances, allows in this case General Motors Corporation but in most instances, globalized corporations – to identify self-excessive behaviour as a natural instinct at odds with a disinterested pursuit of a progressive idea of humanity. This reaction becomes awakened by fear. However, the rhetoric of a manufactured natural as a producer of the real exists in an age-old opposition to the progressive ones it dismisses.
Thus, progressive ideals always leave the rhetorical door open for an appeal to nature, insofar as the methodology of these higher purposes (to the advantage of others) define themselves as solely cultural in relation to a construction of nature. Ideas of what is realistic or natural are, as we know extremely powerful and persuasive. The development of these ideas creates an artificial platform that all discussion, no matter what opinion or side is taken, is held to. So, in art as in life what we oppose we then can never move beyond. not only is art’s general opposition limited in its reach beyond what it opposes, but rather its antagonistic relationship in effect is dependent on the terms defined by what it opposes. but more to the point it is the conventional strategy of the established acts of opposition that is incompatible with any real notion of progress.
I am interested in the presentation and rhetoric of social systems: transitory places and objects, office plants, hallways, shelving units, filing structures and others, a standardization within the work creating a flexibility in the functional aesthetics nature, allowing for observation while the specificity of the object itself becomes quite invisible.
My work presents an encounter, where the literal, metonymic and metaphoric locate a endless space. The work never exclusively becomes a representation of an experience, or a literal object, rather, the division and displacement of both.” – Ethan Breckenridge